Use this URL to cite or link to this record in EThOS: http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.576953
Title: Ruskin and Burne-Jones : the making of a modern painter
Author: Pascu-Tulbure, Cristina
Awarding Body: University of Liverpool
Current Institution: University of Liverpool
Date of Award: 2011
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Abstract:
This thesis discusses the influence of the personal and intellectual friendship between John Ruskin and Edward Burne-Jones on the artist's work, and argues that the friendship was instrumental in Burne-Jones's transition from Victorian to modern aesthetics. Chapter 1 deals with the wide range of critical responses elicited by Burne-Jones's work; it also highlights the difficulty of appreciating Burne-Jones fully without an awareness of his relations with Ruskin. In Chapter 2 I discuss Ruskin's early critical theories and his position in the aesthetic debate of the mid-nineteenth century. This is particularly relevant to Burne-Jones's development because he started his artistic career in total agreement with Ruskin. Chapter 3 addresses those experiences in Burne-Jones's life prior to meeting Ruskin, which led the artist to embrace the work of the critic. At the end of the chapter I touch on Burne-Jones's friendship with Rossetti, whose mid-1850s influence suggested to Burne-Jones a path pointing in a different direction from Ruskin. With his mature work Burne-Jones revisited and explored Rossetti's early ideas on 'design', and developed an artistic creed which both acknowledges Ruskin's teaching and departs from it. Ruskin took an interest in Burne-Jones's career as soon as they met. They became friends, and Ruskin commissioned work from him, gave him practical advice and made demands on his style. But the strongest influence Ruskin exercised was by his writing, as Burne-Jones read Ruskin all his life. Chapter 4 explores the emergence of those of Rusk in's critical ideas which had the greatest impact on Burne-Jones's art. The last chapter deals with Burne-Jones's response to Ruskin's critical theories and personal experiences. This response crystallised at its clearest in the four series of The Briar Rose, on which Burne-Jones worked between 1864 and 1895. The pictures, I conclude, present themselves as a continued emotional and intellectual dialogue with Ruskin and formulate an aesthetic pointing towards the twentieth century.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID: uk.bl.ethos.576953  DOI: Not available
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