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| This may be one of the most successful attempts at showcasing one artist |
In a moment of silence, you stand in one of the most famous
scenes from any fairy-tale. The moment in Sleeping Beauty when the sleeping
enchantment is cast on everyone in the castle. You are the prince, discovering
the sleeping castle folk. To one side you see the sleeping soldiers in the
briar wood. To the other you see the princess herself surrounded by her
sleeping attendants.
It is a moment of beauty. A moment of serenity. A moment
of magic.
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| One fellow visitor came in full Pre-Raphaelite attire, wearing a skirt from the William Morris x H&M collection |
No artwork better encapsulates the popularity of Sir Edward
Burne-Jones, the Pre-Raphaelite artist. With his artworks, he captured familiar
stories but imbued them with the beauty and poise for which the Pre-Raphaelite
brotherhood became renowned.
Tate
Britain’s colossal retrospective of the artist follows the rise of the artist,
the son of a frame-maker in Birmingham.
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| All of the most famous artworks are here. |
An exhibition of just one artist’s work is always ambitious.
Yet this may be one of the most successful attempts at showcasing one artist.
The scope of works included is phenomenal, and accomplishes what any
retrospective aims to do, showcasing just how talented the artist really was.
All of Burne-Jones’ most famous works are here. The Sleeping
Beauty panels (named
The Legend of Briar
Rose)
can be admired in all their
entirety. The central panels tell the narrative, but it is perhaps the side
panels which are most interesting. Despite the decoration and full composition
Burne-Jones clearly loves, he has shown restraint in the side panels. The
single empty stool accompanied by the words ‘restless shuttle lieth still’ is
perhaps the most compelling area of the series. Similarly, a room is devoted to
his Perseus series. Normally in Southampton, the exhibition allows Londoners a
rare opportunity to engage with these masterpieces. Although the majority of
the scenes were painted in gouache, Burne-Jones initially attempted to make the
entire series in silver and gold leaf relief. Two of those panels still survive
and can be seen in the exhibition. T
hey are just a hint of how easily
Burne-Jones could flit between materials and techniques.
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| The Fairy Family. A series of Ballads and Metrical Tales Illustrating Fairy Mythology of Europe, 1857, Frotispiece and title pay by Edward Burne-Jones |
It is this that is most successfully shown in the
exhibition, how varied Burne-Jones’ artworks were. He is perhaps most commonly
thought of as a painter, and his
The
Golden Stairs are even sometimes seen as a precursor to surrealism.
However, it is made clear in Tate’s retrospective that he was far more than
this.
The exhibition is astounding in the range of objects compiled together.
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| The Good Shepherd, 1857-1861 |
A book of ballads he illustrated in 1857 is shown alongside
his stain-glass windows. A ceramic tile dedicated to Geoffrey Chaucer-
Burne-Jones’ most prominent muse- is seen along with a range of life drawings.
A design for embroidery is hung next to some comical caricatures. It is as if
no technique was left untouched or untried.
The idea is brought to a climax with the final room, full of
Burne-Jones tapestries. The floral and decorative designs seen in his paintings
seem to be brought to life with the more 3D
method, brought to their true completion. In the centre of the room sits
a grand piano decorated with the story of Orpheus and Eurydice, just one more
object to which Burne-Jones added his magic touch.
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| Orpheus and Eurydice Piano, 1870 |
Recent reviews in the Guardian have unfairly labelled
Burne-Jones ‘boring’ and ‘stupid.’ These harsh labels should not put anyone off
from seeing the exhibition. The reviews seem to slander the artworks for being
‘kitsch’ when really they are just accessible. It is unusual to have an
exhibition so truly enjoyable for anyone walking in. There is nothing overly
conceptual. The artworks are purely what Burne-Jones always intended them to
be, “a beautiful, romantic dream of something that never was, never will be.”
This fantasy is something anyone can appreciate. Being popular and easily
enjoyable does not make the artworks kitsch.
The spell of the Pre-Raphaelite master is felt here in its
entirety and does not let up until you leave the gift shop.
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