Editing Edward Burne-Jones

{{Short description|English artist (1833–1898)}}
{{Use British English|date=August 2019}}
{{Use dmy dates|date=October 2020}}
{{Infobox artist
| honorific_prefix = [[Sir]]
| name             = Edward Burne-Jones
| honorific_suffix = [[Baronet|Bt]] [[List of Royal Academicians|ARA]]
| image            = Edward Burne-Jones Photogravure Hollyer.jpg
| caption          = [[Photogravure]] of a portrait of Edward Burne-Jones by his son [[Philip Burne-Jones]], 1898
| birth_name       = Edward Coley Burne Jones
| birth_date       = {{Birth date|1833|8|28|df=yes}}
| birth_place      = [[Birmingham]], England
| death_date       = {{Death date and age|1898|6|17|1833|8|28|df=yes}}
| death_place      = [[London]], England
| movement         = {{hlist | [[Pre-Raphaelite Brotherhood]] | [[Aesthetic Movement]] | [[Arts and Crafts Movement]] }}
| field            = [[Painting]]
| spouse           = {{marriage|[[Georgiana Burne-Jones|Georgiana MacDonald]]|1860}}
| partner          = [[Maria Zambaco]] (1866–1869)
| relatives        = {{ubl
  | [[Philip Burne-Jones]] (son)
  | [[John William Mackail]] (son-in-law)
  | [[Stanley Baldwin]] (nephew-in-law)
  | [[Rudyard Kipling]] (nephew-in-law)
  | [[Angela Thirkell]] (granddaughter)
  | [[Denis Mackail]] (grandson)
  }}
}}

'''Sir Edward Coley Burne-Jones, 1st Baronet''', {{Post-nominals|size=100%|post-noms=[[List of Royal Academicians|ARA]]}} ({{IPAc-en|b|ɜr|n|ˈ|d|ʒ|oʊ|n|z}};<ref>[https://www.collinsdictionary.com/dictionary/english/burne-jones "Burne-Jones"]. ''[[Collins English Dictionary]]''.</ref> 28 August 1833{{snd}}17 June 1898) was an English painter and designer associated with the [[Pre-Raphaelite Brotherhood]]'s style and subject matter.<ref>{{Cite book |last1=Lehnebach |first1=Carlos A. |url=https://www.wikidata.org/wiki/Q124332398 |title=Flora: Celebrating our Botanical World |last2=Regnault |first2=Claire |last3=Rice |first3=Rebecca |last4=Awa |first4=Isaac Te |last5=Yates |first5=Rachel A. |date=2023-11-01 |publisher=Te Papa Press |isbn=978-1-9911509-1-2 |pages=94–95 |language=English}}</ref>

Burne-Jones worked with [[William Morris]] as a founding partner in [[Morris & Co.|Morris, Marshall, Faulkner & Co]] in the design of decorative arts.<ref name="mil"/> His early paintings show the influence of [[Dante Gabriel Rossetti]], but by 1870 he had developed his own style. In 1877, he exhibited eight oil paintings at the [[Grosvenor Gallery]], a new rival to the [[Royal Academy of Arts]]. These included ''[[The Beguiling of Merlin]]''. The timing was right and he was taken up as a herald and star of the new [[Aesthetic Movement]].

In the studio of Morris and Co. Burne-Jones worked as a designer of a wide range of crafts including ceramic tiles, jewellery, [[tapestry|tapestries]], and [[mosaic]]s. Among his most significant and lasting designs are those for [[stained glass windows]] the production of which was a revived craft during the 19th century. His designs are still to be found in churches across the UK, with examples in the US and Australia.

==Early life==
[[Image:Frederick Hollyer Edward Burne-Jones and William Morris 1874.jpg|right|thumb|Burne-Jones with [[William Morris]], 1874, by [[Frederick Hollyer]]]]
Born Edward Coley Burne Jones (the hyphenation of his last names was introduced later) was born in [[Birmingham]], the son of a Welshman, Edward Richard Jones, a frame-maker at [[Bennetts Hill]], where a [[blue plaque]] commemorates the painter's childhood. A pub on the site of the house is called the ''Briar Rose'' in honour of Burne-Jones' work.<ref name="mil">{{Cite web |last=Millington |first=Ruth |title=Edward Burne-Jones and The Legend of the Briar Rose |url=https://www.birminghammuseums.org.uk/stories/edward-burne-jones-and-the-legend-of-the-briar-rose |access-date=29 January 2023 |website=Birmingham Museums}}</ref> His mother Elizabeth Jones (née Coley) died within six days of his birth, and Edward was raised by his father, and the family housekeeper, Ann Sampson, an obsessively affectionate but humourless, and unintellectual local girl.{{sfn|Wildman|1998|pp= 42–43}}{{sfn|Daly|1989|pp=249–251}} He attended Birmingham's [[King Edward's School, Birmingham|King Edward VI grammar school]] in 1844 and the [[Birmingham School of Art]] from 1848 to 1852, before studying [[theology]] at [[Exeter College, Oxford]].<ref>{{cite ODNB|last=Newall|first=Christopher|title=Jones, Sir Edward Coley Burne-, first baronet (1833–1898)|id=4051}}</ref> At Oxford, he became a friend of [[William Morris]] as a consequence of a mutual interest in poetry. The two Exeter undergraduates, together with a group of Jones' friends from Birmingham known as the [[Birmingham Set]],{{sfn|Rose|1981|p=78}} formed a society, which they called "The Brotherhood". The members of the brotherhood read the works of [[John Ruskin]] and [[Alfred, Lord Tennyson|Tennyson]], visited churches, and idealised aspects of the aesthetics and social structure of the [[Middle Ages]].<ref name="mil"/> At this time, Burne-Jones discovered [[Thomas Malory]]'s ''[[Le Morte d'Arthur]]'' which would become a substantial influential in his life. At that time, neither Burne-Jones nor Morris knew [[Dante Gabriel Rossetti]] personally, but both were much influenced by his works, and later met him by recruiting him as a contributor to their ''Oxford and Cambridge Magazine'', founded by Morris in 1856 to promote the Brotherhood’s ideas.<ref name="DNB1909">{{cite DNBSupp|wstitle=Burne-Jones, Edward Coley|last=Ward|first=Thomas Humphry }}</ref><ref name="DNB">{{cite DNBSupp |wstitle=Morris, William (1834-1896)
 <!--NB dash not ndash on wikisource--> |display=Morris, William (1834–1896) |last=Mackail |first=John William}}</ref>

Burne-Jones had intended to become a church minister, but under Rossetti's influence both he and Morris decided to become artists, and Burne-Jones left college before taking a degree to pursue a career in art. In February 1857, Rossetti wrote to [[William Bell Scott]]:
{{quotation|Two young men, projectors of the ''Oxford and Cambridge Magazine,'' have recently come up to town from Oxford, and are now very intimate friends of mine. Their names are Morris and Jones. They have turned artists instead of taking up any other career to which the university generally leads, and both are men of real genius. Jones's designs are marvels of finish and imaginative detail, unequalled by anything unless perhaps [[Albert Dürer]]'s finest works.<ref name="DNB1909" />}}

==Marriage and family==
[[File:Georgiana Burne-Jones by Edward Coley Burne-Jones.jpg|left|thumb|''Portrait of Georgiana Burne-Jones, with Philip and Margaret'', 1883]]
[[File:Margaret, daughter of Edward Coley Burne-Jones.jpg|left|thumb|Margaret, daughter of Burne-Jones]]
In 1856 Burne-Jones became engaged to [[Georgiana Burne-Jones|Georgiana "Georgie" MacDonald]] (1840–1920), one of the [[MacDonald sisters]]. She was training to be a painter, and was the sister of Burne-Jones's old school friend. The couple married on 9 June 1860, after which she made her own work in [[woodcut]]s, and became a close friend of [[George Eliot]]. (Another MacDonald sister married the artist Sir [[Edward Poynter]], a further sister married the ironmaster [[Alfred Baldwin (politician)|Alfred Baldwin]] and was the mother of the Prime Minister [[Stanley Baldwin]], and yet another sister was the mother of [[Rudyard Kipling]]. Kipling and Baldwin were thus Burne-Jones's nephews by marriage).

Georgiana gave birth to a son, [[Philip Burne-Jones|Philip]], in 1861. In the winter of 1864, she became gravely ill with [[scarlet fever]] and gave birth to a second son, Christopher, who died soon thereafter. The family then moved to 41 Kensington Square, and their daughter Margaret was born there in 1866.{{sfn|Wildman|1998|p= 107}} 

In 1867 Burne-Jones and his family settled at the Grange, an 18th-century house set in a garden in [[North End, Fulham]], London. For the 1870s Burne-Jones did not exhibit, following a number of bitterly hostile attacks in the press, and a passionate affair (described as the "emotional climax of his life"){{sfn|Wildman|1998|p=114}} with his Greek model [[Maria Zambaco]], which ended with her trying to commit [[suicide]] by throwing herself into [[Regent's Canal]].{{sfn|Wildman|1998|p=114}}{{sfn|Flanders|2001|pp=118–120}} 

During these difficult years, Georgiana developed a friendship with Morris, whose wife [[Jane Morris|Jane]] had fallen in love with Rossetti. Morris and Georgie may have been in love, but if he asked her to leave her husband, she refused. In the end, the Burne-Joneses remained together, as did the Morrises, but Morris and Georgiana were close for the rest of their lives.{{sfn|Flanders|2001|p=136}}

In 1880, the Burne-Joneses bought [[Prospect House, Rottingdean|Prospect House]] in [[Rottingdean]], near [[Brighton]] in Sussex, as their holiday home and soon after, the next door [[Aubrey Cottage]] to create [[North End House]], reflecting the fact that their Fulham home was in North End Road. (Years later, in 1923, [[Roderick Jones (1877–1962)|Sir Roderick Jones]], head of [[Reuters]], and his wife, playwright and novelist [[Enid Bagnold]], were to add the adjacent [[Gothic House]] to the property, which became the inspiration and setting for her play ''[[The Chalk Garden]]'').

His troubled son Philip, who became a successful portrait painter, died in 1926. His adored daughter Margaret (died 1953) married [[John William Mackail]] (1850–1945), the friend and biographer of Morris, and Professor of Poetry at Oxford from 1911 to 1916. Their children were the novelists [[Angela Thirkell]] and [[Denis Mackail]], and the youngest, Clare Mackail. 

In an edition of the boys' magazine, Chums (No.&nbsp;227, Vol.&nbsp; V, 13 January 1897), an article on Burne-Jones stated that "....his pet grandson used to be punished by being sent to stand in a corner with his face to the wall. One day on being sent there, he was delighted to find the wall prettily decorated with fairies, flowers, birds, and bunnies. His indulgent grandfather had utilised his talent to alleviate the tedium of his favourite's period of penance."

==Artistic career==

===Early years: Rossetti and Morris===
[[Image:Edward Burne-Jones Sidonia von Bork.jpg|right|thumb|''[[Sidonia von Borcke]]'', 1860]]
Burne-Jones once admitted that after leaving Oxford he "found himself at five-and-twenty what he ought to have been at fifteen". He had had no regular training as a draughtsman and lacked the confidence of science. But his extraordinary faculty of invention as a designer was already ripening; his mind, rich in knowledge of classical story and medieval romance, teemed with pictorial subjects, and he set himself to complete his set of skills by resolute labour, witnessed by his drawings. The works of this first period are all more or less tinged by the influence of Rossetti; but they are already differentiated from the elder master's style by their more facile though less intensely felt elaboration of imaginative detail. Many are pen-and-ink drawings on [[vellum]], exquisitely finished, of which his ''Waxen Image'' (1856) is one of the earliest and best examples. Although the subject, medium and manner derive from Rossetti's inspiration, it is not the hand of a pupil merely, but of a potential master. This was recognised by Rossetti himself, who before long avowed that he had nothing more to teach him.<ref name="EB1911">{{cite EB1911|wstitle=Burne-Jones, Sir Edward Burne|volume=4|pages=848–850|noicon=1}}</ref>

Burne-Jones's first sketch in oils dates from this same year, 1856, and during 1857 he made for [[Bradfield College]] the first of what was to be an immense series of cartoons for stained glass. In 1858 he decorated a cabinet with the ''Prioress's Tale'' from [[Geoffrey Chaucer]]'s ''[[Canterbury Tales]]'', his first direct illustration of the work of a poet whom he especially loved and who inspired him with endless subjects. Thus early, therefore, we see the artist busy in all the various fields in which he was to labour.<ref name="EB1911" />

In the autumn of 1857 Burne-Jones joined Morris, [[Valentine Prinsep]], [[John Roddam Spencer Stanhope|J.&nbsp;R. Spencer Stanhope]]{{sfn|Marsh|1996|p= 110}} and others in Rossetti's ill-fated scheme to [[Oxford Union murals|decorate]] the walls of the [[Oxford Union]]. None of the painters had mastered the technique of [[fresco]], and their pictures had begun to peel from the walls before they were completed. In 1859 Burne-Jones made his first journey to Italy. He saw [[Florence]], [[Pisa]], [[Siena]], [[Venice]] and other places, and appears to have found the gentle and romantic [[Sienese School|Sienese]] more attractive than any other school. Rossetti's influence persisted and is visible, more strongly perhaps than ever before, in the two [[Watercolor painting|watercolours]] of 1860, ''Sidonia von Bork'' and ''Clara von Bork.''<ref name="EB1911" /> Both paintings illustrate the 1849 [[gothic novel]] ''Sidonia the Sorceress'' by [[Jane Wilde|Lady Wilde]], a translation of ''Sidonia Von Bork: Die Klosterhexe'' (1847) by Johann Wilhelm Meinhold.{{sfn|Wildman|1998|p= 66}}

===Painting===
{{refimprove section|date=August 2022}}
[[Image:Beguiling of Merlin.jpg|right|thumb|''[[The Beguiling of Merlin]]'', 1874]]
In 1864, Burne-Jones was elected an associate of the [[Royal Watercolour Society|Society of Painters in Water-Colours]]—which is known as the Old Water-Colour Society—and exhibited, among other works, ''[[The Merciful Knight]]'', the first picture which fully revealed his ripened personality as an artist. The next six years saw a series of fine watercolours at the same gallery.<ref name="EB1911" />

In 1866, Mrs. Cassavetti commissioned Burne-Jones to paint her daughter, [[Maria Zambaco]], in ''Cupid finding Psyche'', an introduction which led to their tragic affair. In 1870, Burne-Jones resigned his membership following a controversy over his painting ''Phyllis and Demophoön''.'' ''The features of Maria Zambaco were clearly recognisable in the barely draped Phyllis, and the undraped nakedness of Demophoön coupled with the suggestion of female sexual assertiveness offended [[Victorian era|Victorian]] sensibilities. Burne-Jones was asked to make a slight alteration, but instead "withdrew not only the picture from the walls, but himself from the Society".{{sfn|Roget|1891|p=116}}{{sfn|Wildman|1998|p=138}} During the next seven years, 1870–1877, only two works of the painter's were exhibited. These were two water-colours, shown at the Dudley Gallery at the [[Egyptian Hall|Egyptian Hall, Piccadilly]] in 1873, one of them being the beautiful ''[[Love Among the Ruins (Burne-Jones)|Love Among the Ruins]]'', destroyed twenty years later by a cleaner who supposed it to be an oil painting, but afterwards reproduced in oils by the painter. This silent period was one of unremitting production.{{cn|date=August 2022}} 

Hitherto, Burne-Jones had worked almost entirely in watercolours. He now began pictures in oils, working at them in turn, and having them on hand. The first ''Briar Rose'' series, ''Laus Veneris,'' the ''Golden Stairs,'' the ''Pygmalion'' series, and ''The Mirror of Venus'' are among the works planned and completed, or carried far towards completion, during these years.<ref name="EB1911" /> 

The beginnings of Burne-Jones' partnership with the fine-art photographer [[Frederick Hollyer]], whose reproductions of paintings and—especially—drawings would expose an audience to Burne-Jones's works in the coming decades, began during this period.{{sfn|Wildman|1998|pp= 197–198}}

At last, in May 1877, the day of recognition came with the opening of the first exhibition of the [[Grosvenor Gallery]], when the ''Days of Creation,'' ''[[The Beguiling of Merlin]],'' and the ''Mirror of Venus'' were all shown. Burne-Jones followed up the signal success of these pictures with ''Laus Veneris,'' the ''Chant d'Amour,'' ''Pan and Psyche,'' and other works, exhibited in 1878. Most of these pictures are painted in brilliant colours.{{cn|date=August 2022}} 

A change is noticeable in 1879 in the ''Annunciation'' and in the four pictures making up the second series of ''Pygmalion and the Image''; the former of these, one of the simplest and most perfect of the artist's works, is subdued and sober; in the latter, a scheme of soft and delicate tints was attempted, not with entire success. A similar temperance of colours marks ''[[The Golden Stairs]],'' first exhibited in 1880.{{cn|date=August 2022}} 

The almost sombre ''[[The Wheel of Fortune (Burne-Jones)|Wheel of Fortune]]'' was shown in 1883, followed in 1884 by ''[[King Cophetua and the Beggar Maid (painting)|King Cophetua and the Beggar Maid]],'' in which Burne-Jones once more indulged his love of gorgeous colour, refined by the period of self-restraint. He next turned to two important sets of pictures, ''The Briar Rose'' and ''The Story of Perseus,'' although these were not completed.<ref name="EB1911" />

===Decorative arts===
[[File:Burne-Jones, Sir Edward, Saint Cecilia, ca. 1900.jpg|thumb|left|''[[Saint Cecilia]]'', {{c.}} 1900, [[Princeton University Art Museum]], one of nearly thirty versions of a window designed by Burne-Jones and executed by Morris & Co.<ref>{{Cite web |title=Saint Cecilia (y1974–84) |url=http://artmuseum.princeton.edu/collections/objects/32015 |website=Princeton University Art Museum |publisher=Princeton University}}</ref>]]

{{Main|Morris & Co.}}
In 1861, William Morris founded the [[decorative arts]] firm of Morris, Marshall, Faulkner & Co. with Rossetti, Burne-Jones, [[Ford Madox Brown]] and Philip Webb as partners, together with [[Charles Joseph Faulkner|Charles Faulkner]] and [[Peter Paul Marshall]], the former of whom was a member of the Oxford Brotherhood, and the latter a friend of Brown and Rossetti.<ref name="DNB" /> The prospectus set forth that the firm would undertake carving, [[stained glass]], metal-work, paper-hangings, [[chintz]]es (printed fabrics), and [[carpet]]s.<ref name="EB1911" /> The decoration of churches was from the first an important part of the business. The work shown by the firm at the [[1862 International Exhibition]] attracted notice, and later it was flourishing. Two significant secular commissions helped establish the firm's reputation in the late 1860s: a royal project at [[St. James's Palace]] and the "green dining room" at the South Kensington Museum (now the [[Victoria and Albert Museum|Victoria and Albert]]) of 1867 which featured stained glass windows and panel figures by Burne-Jones.{{sfn|Parry|1996|loc=Domestic Decoration|pp=139–140}}

In 1871 Morris & Co. were responsible for the windows at [[All Saints Church, Wilden|All Saints]], designed by Burne-Jones for [[Alfred Baldwin (politician)|Alfred Baldwin]], his wife's brother-in-law. The firm was reorganised as Morris & Co. in 1875, and Burne-Jones continued to contribute designs for stained glass and later tapestries until the end of his career. Nine windows designed by him and made by Morris & Co were installed in Holy Trinity Church in Frome.<ref>{{Cite web |title=Burne-Jones Windows – Holy Trinity Frome |url=http://www.holytrinityfrome.info/?page_id=39066 |access-date=2019-06-02 |language=en-US}}</ref> 
Stained glass windows in the [[Christ Church, Oxford|Christ Church]] cathedral and other buildings in [[Oxford]] are by Morris & Co. with designs by Burne-Jones.<ref name="CCglass">[http://www.southgategreen.org.uk/christchurch/burnejones.php. Edward Burne-Jones] {{webarchive |url=https://web.archive.org/web/20060724003620/http://southgategreen.org.uk/christchurch/burnejones.php | date=24 July 2006}} Southgate Green Association "His work included both stained-glass windows for Christ Church in Oxford and the stained glass windows for Christ Church on Southgate Green."</ref><ref name="UTex">[http://www.cwrl.utexas.edu/~bump/E320M/PRB.html PreRaphaelite Painting and Design] {{webarchive|url=https://web.archive.org/web/20081014005304/http://www.cwrl.utexas.edu/~bump/E320M/PRB.html |date=14 October 2008 }} University of Texas</ref> 
Other windows are in [[St. Philip's Cathedral, Birmingham]], [[Church of St Editha, Tamworth]], [[Salisbury Cathedral]], [[St Martin in the Bull Ring]], Birmingham, [[Holy Trinity Church, Sloane Square, Chelsea]], St Peter and St Paul parish church in [[Cromer]], [[St Martin's Church, Brampton|St Martin's Church]] in [[Brampton, Carlisle, Cumbria|Brampton]], [[Cumbria]] (the church designed by [[Philip Webb]]), [[St Michael's Church, Brighton]], [[Church of the Holy Trinity, Frome|Trinity Church]] in [[Frome]], [[All Saints, Jesus Lane]], [[Cambridge]], [[St Edmund Hall]], [[St Anne's Church, Brown Edge]], Staffordshire Moorlands, [[Kelvinside Hillhead Parish Church, Glasgow]] and St Edward the Confessor church at Cheddleton Staffordshire.

Stanmore Hall was the last major decorating commission executed by Morris & Co. before Morris's death in 1896. It was the most extensive commission undertaken by the firm, and included a series of tapestries based on the story of the [[Holy Grail]] for the dining room, with figures by Burne-Jones.{{sfn|Parry|1996|loc=Domestic Decoration|pp=146–147}}

In 1891 Jones was elected a member of the [[Art Workers Guild]].

===Illustration===
Although known primarily as a painter, Burne-Jones was active as an illustrator, helping the Pre-Raphaelite aesthetic to enter mainstream awareness. He designed books for the [[Kelmscott Press]] between 1892 and 1898. His illustrations appeared in the following books, among others:{{sfn|Souter|Souter|2012|p=19}}

* ''The Fairy Family'' by [[Archibald MacLaren]] (1857)
* ''[[The Rubaiyat of Omar Khayyam]]'' by William Morris (1872)
* ''[[The Earthly Paradise]]'' by William Morris (not completed)
* ''The Works of Geoffrey Chaucer'' by [[Geoffrey Chaucer]] (1896)
* ''Bible Gallery'' by [[Brothers Dalziel|Dalziel]] (1881)

===Design for the theatre===
In 1894, theatrical manager and actor [[Henry Irving]] commissioned Burne-Jones to design sets and costumes for the [[Lyceum Theatre, London|Lyceum Theatre]] production of ''King Arthur'' by [[J. Comyns Carr]], who was Burne-Jones's patron and the director of the New Gallery as well as a playwright. The play starred Irving as [[King Arthur]] and [[Ellen Terry]] as [[Guinevere]], and toured America following its London run.{{sfn|Wildman|1998|p= 315}}{{sfn|Wood|1999| p= 119}}<ref>{{Cite news |date=5 November 1895 |title=Miss Terry as Guinevere; In a Play by Comyns Carr, Dressed by Sir Edward Burne-Jones |work=[[The New York Times]] |url=https://query.nytimes.com/gst/abstract.html?res=9802E7DF1E3DE433A25756C0A9679D94649ED7CF |access-date=8 August 2008}}</ref> Burne-Jones accepted the commission with enthusiasm, but was disappointed with much of the final result. He wrote confidentially to his friend Helen Mary Gaskell (known as May), "The armour is good—they have taken pains with it ... Perceval looked the one romantic thing in it ... I hate the stage, don't tell—but I do."{{sfn|Wood|1999| p= 120}}

===Aesthetics===
[[Image:Edward Burne-Jones The Golden Stairs.jpg|right|thumb|''[[The Golden Stairs]]'', 1880]]
Burne-Jones's paintings were one strand in the evolving tapestry of [[Aestheticism]] from the 1860s through the 1880s, which considered that art should be valued as an object of beauty engendering a sensual response, rather than for the story or moral implicit in the subject matter. In many ways, this was antithetical to the ideals of Ruskin and the early Pre-Raphaelites.{{sfn|Wildman|1998|pp= 112–113}} Burne-Jones's aim in art is best given in his own words, written to a friend:
<blockquote>
I mean by a picture a beautiful, romantic dream of something that never was, never will be – in a light better than any light that ever shone – in a land no one can define or remember, only desire – and the forms divinely beautiful – and then I wake up, with the waking of Brynhild.<ref name="EB1911" /></blockquote>

===Final years===
{{refimprove section|date=August 2022}}
Burne-Jones was elected an Associate of the [[Royal Academy]] in 1885, and the following year he exhibited uniquely at the Academy, showing ''The Depths of the Sea,'' a painting of a mermaid carrying down with her a youth whom she has unconsciously drowned in the impetuosity of her love. This picture adds to the habitual haunting charm a tragic irony of conception and a felicity of execution which give it a place apart among Burne-Jones's works. He formally resigned his Associateship in 1893. 

One of the ''Perseus'' series was exhibited in 1887 and two more in 1888, with ''The Brazen Tower,'' inspired by the same legend. In 1890 the second series of ''[[The Legend of Briar Rose]]'' were exhibited by themselves and won admiration. The huge watercolour, ''[[Star of Bethlehem (painting)|The Star of Bethlehem]],'' painted for the corporation of Birmingham, was exhibited in 1891. 

A long illness for a time checked the painter's activity, which, when resumed, was much occupied with decorative schemes. An exhibition of his work was held at the [[New Gallery (London)|New Gallery]] in the winter of 1892–1893. To this period belong his comparatively few portraits.

In 1894, Burne-Jones was made a [[baronet]]. Ill health again interrupted the progress of his works, chief among which was the vast ''[[The Last Sleep of Arthur in Avalon|Arthur in Avalon]]''. William Morris died in 1896, and the health of Burne-Jones declined substantially after. In 1898 he suffered an attack of [[influenza]], and had apparently recovered when he was again taken suddenly ill and died on 17 June 1898.<ref name="EB1911" /><ref>{{London Gazette|issue=26988|page=4396|date=19 July 1898}}</ref> His memorial service was held six days later, at [[Westminster Abbey]]. His ashes were interred in the churchyard at [[St Margaret's Church, Rottingdean]],{{sfn | Dale | 1989 | p=212}} a place he knew through summer family holidays. In the winter following his death, a second exhibition of his works was held at the New Gallery, and an exhibition of his drawings at the [[Burlington Fine Arts Club]].<ref name="EB1911" />

==Honours==
[[File:Edward Burne-Jones.The last sleep of Arthur.jpg|thumb|left|260px|Burne-Jones' ''[[The Last Sleep of Arthur in Avalon]]'' (between 1881 and 1898), at [[Museo de Arte de Ponce]], [[Ponce, Puerto Rico]]]]
In 1881 Burne-Jones received an honorary degree from [[University of Oxford|Oxford]], and was made an Honorary Fellow in 1882.<ref name="DNB1909"/> In 1885 he became the President of the [[Birmingham Society of Artists]]. At about that time, he began hyphenating his name, merely—as he wrote later—to avoid "annihilation" in the mass of Joneses.{{sfn|Taylor|1987|pp=150–151}} In November 1893, he was approached to see if he would accept a Baronetcy on the recommendation of the outgoing Prime Minister [[William Ewart Gladstone]], the following February he legally changed his name to Burne-Jones.{{sfn|Flanders|2001|p=258}} He was formally created a [[baronet]] of Rottingdean, in the county of Sussex, and of the Grange, in the parish of Fulham, in the county of London, in the [[baronetage of the United Kingdom]] on 3 May 1894,<ref>{{London Gazette|issue=26509|page=2613|date=4 May 1894}}</ref> but remained unhappy about accepting the honour, which disgusted his socialist friend Morris and was scorned by his equally socialist wife Georgiana.{{sfn|Taylor|1987|pp=150–151}}{{sfn|Flanders|2001|p=258}} Only his son Philip, who mixed with the set of the [[Edward VII of the United Kingdom|Prince of Wales]] and would inherit the title, truly wanted it.{{sfn|Flanders|2001|p=258}} Burne-Jones was made an elected member of the [[Royal Academy of Science, Letters and Fine Arts of Belgium]] in 1897.<ref>Index biographique des membres et associés de l'Académie royale de Belgique (1769–2005). p 44</ref>

Following Burne-Jones' death, and at the intervention of the Prince of Wales, his memorial service was held at [[Westminster Abbey]]. It was the first time an artist had been so honoured.

==Influence==
[[Image:Blue plaque Edward Burne-Jones.jpg|right|thumb|[[Blue plaque]] on [[Bennetts Hill]], Birmingham]]

Burne-Jones exerted a considerable influence on French painting. He was influential among French [[Symbolist painting|symbolist]] painters, from 1889.<ref name="Sym">{{Cite web |title=The Age of Rossetti, Burne-Jones and Watts: Symbolism in Britain 1860–1910 |url=http://www.artmagick.com/exhibitions/exhibition.aspx?id=360 |url-status=dead |archive-url=https://web.archive.org/web/20060328043558/http://www.artmagick.com/exhibitions/exhibition.aspx?id=360 |archive-date=28 March 2006 |access-date=12 September 2008}}</ref> His work inspired poetry by [[Algernon Charles Swinburne]]&nbsp;– Swinburne's 1866 ''Poems & Ballads'' is dedicated to Burne-Jones.

Three of Burne-Jones's studio assistants, [[John Melhuish Strudwick]], T. M. Rooke and [[Charles Fairfax Murray]], went on to successful painting careers. Murray later became an important collector and respected [[art dealer]]. Between 1903 and 1907 he sold a great many works by Burne-Jones and the [[Pre-Raphaelites]] to the [[Birmingham Museum & Art Gallery|Birmingham Museum and Art Gallery]], at far below their market worth. Birmingham Museum and Art Gallery now has the largest collection of works by Burne-Jones in the world, including the massive watercolour ''Star of Bethlehem'', commissioned for the Gallery in 1897. The paintings are believed by some to have influenced the young [[J. R. R. Tolkien]], then growing up in Birmingham.<ref name="Ink">{{Cite web |last=Bracken |first=Pamela |date=4 March 2006 |title=Echoes of Fellowship: The PRB and the Inklings |url=https://www.academia.edu/5890655 |access-date=23 June 2014 |publisher=Conference paper, C. S. Lewis & the Inklings}}</ref>

Burne-Jones was also a very strong influence on the [[Birmingham Group (artists)|Birmingham Group]] of artists, from the 1890s onwards.

==Neglect and rediscovery==
On 16 June 1933, Prime Minister [[Stanley Baldwin]], a nephew of Burne-Jones, officially opened the centenary exhibition featuring Burne-Jones's drawings and paintings at the [[Tate Britain|Tate Gallery]] in London. In his opening speech at the exhibition, Baldwin expressed what the art of Burne-Jones stood for:
{{quotation|In my view, what he did for us common people was to open, as never had been opened before, magic casements of a land of faery in which he lived throughout his life ... It is in that inner world we can cherish in peace, beauty which he has left us and in which there is peace at least for ourselves. The few of us who knew him and loved him well, always keep him in our hearts, but his work will go on long after we have passed away. It may give its message in one generation to a few or in other to many more, but there it will be for ever for those who seek in their generation, for beauty and for those who can recognise and reverence a great man, and a great artist.<ref name="centenary">{{Cite news |date=24 July 1933 |title=Centenary exhibition of Sir Edward Burne-Jones at London Tate Gallery |page=6 |work=The Straits Times}}</ref>}}
But, in fact, long before 1933, Burne-Jones had fallen out of fashion in the art world, much of which soon preferred the major trends in [[Modern art]], and the exhibit marking the 100th anniversary of his birth was a sad affair, poorly attended.{{sfn|Wildman|1998|p= 1}} It was not until the mid-1970s that his work began to be re-assessed and once again acclaimed, following the publication of [[Martin Harrison (curator)|Martin Harrison]] and Bill Waters' 1973 monograph and reappraisal 'Burne-Jones'. In 1975, author [[Penelope Fitzgerald]] published a biography of Burne-Jones, her first book.{{sfn|Fitzgerald|1975|p=}} A major exhibit in 1989 at the [[Barbican Art Gallery]], London (in book form as: John Christian, ''The Last Romantics'', 1989), traced Burne-Jones's influence on the subsequent generation of artists, and another at [[Tate Britain]] in 1997 explored the links between British Aestheticism and Symbolism.<ref name="Sym" />

A second, lavish centenary exhibit&nbsp;– this time marking the 100th anniversary of Burne-Jones's death&nbsp;– was held at the [[Metropolitan Museum of Art]] in New York in 1998, before travelling to the [[Birmingham Museum and Art Gallery]] and the [[Musée d'Orsay]], Paris.{{sfn|Wildman|1998|loc=Front matter}}

[[Fiona MacCarthy]], in a review of Burne-Jones's legacy, notes that he was "a painter who, while quintessentially Victorian, leads us forward to the psychological and sexual introspection of the early twentieth century".<ref>[http://www.tate.org.uk/context-comment/articles/visionary-oddity Tate: "A Visionary Oddity: Fiona MacCarthy on Edward Burne-Jones"]</ref>

==Gallery==
===Stained and painted glass===
<gallery class="center" widths="180px" heights="180px">

File:Edward Burne-Jones Daniel 1873.jpg|Cartoon for ''Daniel'' window, [[St Martin-on-the-Hill, Scarborough|St. Martin's-on-the-Hill]], [[Scarborough, North Yorkshire|Scarborough]], 1873
File:Boston Trinity Church 04.jpg|Edward Burne-Jones and [[William Morris]]' [[Nativity of Jesus in art|Nativity]] windows, 1882, [[Trinity Church, Boston]]
File:USA Massachusetts Boston Trinity Nativity-window.jpg|''The Worship of the [[Biblical Magi|Magi]]'' window, 1882, Trinity Church, Boston
File:USA Massachusetts Boston Trinity-Nativity-detail-2.jpg|''The Worship of the Shepherds'' window, 1882, Trinity Church, Boston
File:Burnejoneswindow.jpg|Nativity scene in St Mary's Church, [[Huish Episcopi]], [[Somerset]]
File:David Burne-Jones.jpg|''David'', 1872, in St Michael and All Angels, [[Waterford, Hertfordshire]]
File:Miriam Burne-Jones.jpg|''Miriam'', 1872, in St Michael and All Angels, [[Waterford, Hertfordshire]]
File:E.Burne-Jones Justice St.Andrew&St.Paul.jpg|''Justice'', [[Church of St. Andrew and St. Paul]], Montreal
File:E.Burne-Jones Miriam St.Giles.jpg|''Miriam'', 1886, in [[St Giles' Cathedral]], Edinburgh
File:Salvator Mundi Burne-Jones.jpg|''Christ as Salvator Mundi'', 1896, in St Michael and All Angels, [[Waterford, Hertfordshire]]
File:St Cecilia narthex.jpg|St. Cecilia window, [[Second Presbyterian Church, Chicago, Illinois]]
File:Staveley crucifixion.jpg|[[Crucifixion of Jesus|Crucifixion]] window in St James's Church, [[Staveley, Cumbria|Staveley]], Cumbria
File:Staveley angel playing harp.JPG|Angel window in St. James's Church, Staveley, Cumbria
File:Old West Kirk EBJ Faith.jpg|''Faith'' in the [[Greenock#Old West Kirk|Old West Kirk, Greenock]]
File:Old West Kirk EBJ Music.jpg|''Music'' in the Old West Kirk, Greenock
File:Bellringers 003.jpg|St Agnes of Rome and Catherine of Alexandria, [[St Paul, Irton]]
File:St Germans Priory east window by Edward Burne Jones.jpg|East window, 1896, [[St Germans Priory]], Cornwall
File:BJ Troutbeck.jpg|''The Ascension'', 1898, [[Jesus Church, Troutbeck]], Cumbria
</gallery>

===Drawings===
<gallery class="center" widths="180px" heights="180px">

File:Edward Burne-Jones The Knights Farewell.jpg|''The Knight's Farewell'', pen-and-ink on vellum, 1858
File:Edward Burne-Jones Going to the Battle 1858.jpg|''Going to the Battle'', pen-and-ink with grey wash on vellum, 1858
File:Dalziel Brothers after Edward Burne-Jones King Sigurd 1862.png|''King Sigurd'', wood-engraving by the Dalziel Bros. after a pen-and-ink drawing, 1862
File:Burne-Jones Ignacy Jan Paderewski.jpg|''Portrait of [[Ignacy Jan Paderewski]]'', 1892
</gallery>

===Paintings===
'''Early works'''
<gallery class="center" widths="180px" heights="180px">

File:Edward Burne-Jones - The Merciful Knight.jpg|''[[The Merciful Knight]]'', 1863
File:Burne ,Princess Sabra Led to the Dragon.jpg|''The Princess Sabra Led to the Dragon,'' 1866
File:Edward Burne-Jones Maria Zambaco 1870.jpg|''Portrait of [[Maria Zambaco]]'', 1870
File:Edward Burne-Jones Phyllis and Demophoon 1870.jpg|''Phyllis and Demophoön'', 1870
File:Edward Burne-Jones Temperantia 1872.jpg|''Temperantia'', 1872
</gallery>

'''''Pygmalion''''' ''(first series)''
<gallery class="center" widths="180px" heights="180px">

File:The Heart Desires, Pygmalion (Burne-Jones).jpg|''[[The Heart Desires]]'', 1868–1870
File:The Hand Refrains, Pygmalion (Burne-Jones)i.jpg|''[[The Hand Refrains]]'', 1868–1870
File:The Godhead Fires, Pygmalion (Burne-Jones).jpg|''[[The Godhead Fires]]'', 1868–1870
File:The Soul Attains, Pygmalion (Burne-Jones).jpg|''[[The Soul Attains]]'', 1868–1870
</gallery>

'''''[[Pygmalion and the Image Series|Pygmalion and the Image]]''''' ''(second series)''
<gallery class="center" widths="180px" heights="180px">

File:The Heart Desires, 2nd series, Pygmalion (Burne-Jones).jpg|''[[The Heart Desires]]'', 1878
File:The Hand Refrains, 2nd series, Pygmalion (Burne-Jones).jpg|''[[The Hand Refrains]]'', 1878
File:The Godhead Fires, 2nd series, Pygmalion (Burne-Jones).jpg|''[[The Godhead Fires]]'', 1878
File:The Soul Attains, 2nd series, Pygmalion (Burne-Jones).jpg|''[[The Soul Attains]]'', 1878
</gallery>

'''The Grosvenor Gallery years'''
<gallery class="center" widths="180px" heights="180px">

File:Edward Burne-Jones Pan and Psyche.jpg|''Pan and Psyche'', 1874
File:Edward Burne-Jones - An Angel Playing a Flageolet.jpg|''An Angel Playing a Flageolet'', 1878
File:Edward Burne-Jones The Annunciation.jpg|''The Annunciation'', 1879
File:Burnejones3.jpg|''The Angel'', 1881
File:The Mill by Edward Burne-Jones.jpg|''The Mill'', 1882
File:Edward Burne-Jones - King Cophetua and the Beggar Maid - Google Art Project.jpg|''[[King Cophetua and the Beggar Maid (painting)|King Cophetua and the Beggar Maid]]'', 1884
</gallery>

'''''The Legend of Briar Rose''''' ''(second series)''
{{Main|The Legend of Briar Rose}}
<gallery class="center" widths="180px" heights="180px">

File:Briar Wood Buscot Park.jpg|''The Briar Wood'', completed 1890
File:The Council Chamber Buscot Park.jpg|''The Council Chamber'', 1890
File:The Garden Court Buscot Park.jpg|''The Garden Court'', 1890
File:The Rose Bower Buscot Park.jpg|''The Rose Bower'', 1890
</gallery>

'''Later works'''
<gallery class="center" widths="180px" heights="180px">

File:Burne-Jones, Edward - The Garden of Pan - 1886-1887.jpg|''[[The Garden of Pan]]'', 1886-87, [[National Gallery of Victoria]], Melbourne
File:Edward Burne-Jones - Perseus.jpeg|''The Doom Fulfilled'', 1888 ([[Perseus]] Cycle&nbsp;7)
File:If looks could kill.jpg|''The Baleful Head'', 1887 (Perseus Cycle&nbsp;8)
File:Edward Burne-Jones Star of Bethlehem.jpg|''[[Star of Bethlehem (painting)|The Star of Bethlehem]]'', 1890
File:Sir Edward Coley Burne-Jones - Vespertina Quies - Google Art Project.jpg|''Vespertina Quies'', 1893
File:Burne-jones-love-among-the-ruins.jpg|''[[Love Among the Ruins (Burne-Jones)|Love Among the Ruins]]'', 1873
File:Burne-Jones Last Sleep of Arthur in Avalon v2.jpg|''[[The Last Sleep of Arthur in Avalon]]'' 1881–1898
</gallery>

===Decorative arts===
<gallery class="center" widths="180px" heights="180px">

File:Rubaiyat Morris Burne-Jones Manuscript.jpg|Illuminated manuscript of the ''[[Rubaiyat of Omar Khayyam]]'' by William Morris, illustrated by Burne-Jones with a variant of ''[[Love Among the Ruins (Burne-Jones)|Love Among the Ruins]]'', 1870s
File:Holy Grail Tapestry -The Arming and Departure of the Kniights.jpg|''The Arming and Departure of the Knights'', one of the [[Holy Grail tapestries]], 1890s, figures by Burne-Jones.
File:Kelmscott Troilus.jpg|A page from the Kelmscott ''Chaucer'', decoration by Morris and illustration by Burne-Jones, 1896
</gallery>

===Theatre===
<gallery class="center" widths="180px" heights="180px">

File:Carrcraven7.jpg|Scene from ''King Arthur'', sets by Burne-Jones, 1895
File:Ellen Terry as Guinevere costume by Burne-Jones.jpg|Ellen Terry as Guinevere, costume by Burne-Jones, 1894
</gallery>

===Photographs===
<gallery class="center" widths="180px" heights="180px">

File:Frederick Hollyer Morris and Burne-Jones Families 1874.jpg|The Burne-Jones and Morris families in the garden at the Grange, 1874, photograph by [[Frederick Hollyer]]
File:Frederick Hollyer portrait of Edward Burne-Jones c1882.jpg|Edward Burne-Jones, c. 1882 (Hollyer)
File:Frederick Hollyer portrait of Georgiana Burne-Jones c1882.jpg|Georgiana Burne-Jones, c. 1882 (Hollyer)
File:Frederick Hollyer Garden Studio at the Grange 1887.jpg|Burne-Jones's garden studio at the Grange, 1887 (Hollyer)
</gallery>
{{external media | width = 210px | float = right | video1 = [http://smarthistory.khanacademy.org/King-Cophetua-and-the-Beggar-Maid.html Burne-Jones' ''King Cophetua and the Beggar Maid'']
 | video2 = [http://smarthistory.khanacademy.org/burne-jones-the-golden-stairs.html Burne Jones's ''The Golden Stairs'']
 | video3 = [http://smarthistory.khanacademy.org/burne-jones-hope.html Burne-Jones's ''Hope''],<br>
All at [[Smarthistory]]<ref name="smarth">{{Cite web |title=Burne-Jones's Hope |url=http://smarthistory.khanacademy.org/burne-jones-hope.html |access-date=22 December 2013 |publisher=[[Smarthistory]] at [[Khan Academy]] |archive-date=11 October 2014 |archive-url=https://web.archive.org/web/20141011064912/http://smarthistory.khanacademy.org/burne-jones-hope.html |url-status=dead }}</ref>
 }}

==See also==
* [[List of paintings by Edward Burne-Jones]]
* [[The Flower Book (Edward Burne-Jones)|''The Flower Book'']]
* [http://www.germanicmythology.com/works/BURNEJONESART.html Stained Glass Designs for the Vinland House, 1881]

==References==
;Notes
{{Notelist|group=note}}

;Citations
{{Reflist|30em|refs=
}}

===Bibliography===
{{refbegin|2|indent=yes}}
* {{Cite book |last=Dale |first=Antony |title=Brighton churches |publisher=Routledge |year=1989 |isbn=0-415-00863-8 |location=London}}
* {{Cite book |last=Daly |first=Gay |url=https://archive.org/details/preraphaelitesin00daly |title=Pre-Raphaelites in Love |publisher=Ticknor & Fields |year=1989 |isbn=978-0-89919-450-9 |url-access=registration}}
*{{Cite book |last=Fitzgerald |first=Penelope |title=Edward Burne-Jones: a biography |date=1975 |publisher=Joseph |isbn=0718113675 |location=London |oclc=2006197 |author-link=Penelope Fitzgerald}}
* {{Cite book |last=Flanders |first=Judith |url=https://books.google.com/books?id=O0uJ2fro7ZAC |title=A Circle of Sisters: Alice Kipling, Georgiana Burne-Jones, Agnes Poynter and Louisa Baldwin |publisher=W.W. Norton |year=2001 |isbn=978-0-393-05210-7}}
* {{Cite book |last=Marsh |first=Jan |url=https://books.google.com/books?id=0PQkAQAAMAAJ |title=The Pre-Raphaelites: their lives in letters and diaries |publisher=Collins & Brown |year=1996 |isbn=978-1-85585-246-4}}
* {{Cite book |title=William Morris |date=1996 |publisher=Abrams |isbn=0-8109-4282-8 |editor-last=Parry |editor-first=Linda}}
* {{Cite book |last=Roget |first=John Lewis |url=https://archive.org/stream/historyofoldwate02roge#page/116/search/burne |title=A History of the "Old Water-Colour" Society, Now the Royal Society of Painters in Water Colours. |publisher=Longmans Green |year=1891 |volume=2}}
* {{Cite book |last=Rose |first=Andrea |url=https://archive.org/details/preraphaelitepor0000rose |title=Pre-Raphaelite portraits |publisher=Oxford Illustrated Press |year=1981 |isbn=0-902280-82-1 |location=Oxford |url-access=registration}}
* {{Cite book |last=Taylor |first=Ina |url=https://books.google.com/books?id=43xmAAAAMAAJ |title=Victorian Sisters |publisher=Weidenfeld & Nicolson |year=1987 |isbn=978-0-297-79065-5}}
* {{Cite book |last=Wildman |first=Stephen |url=http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/67586 |title=Edward Burne-Jones: Victorian Artist-Dreamer |date=1998 |publisher=Metropolitan Museum of Art |isbn=0-87099-859-5}}
* {{Cite book |last=Wood |first=Christopher |title=Burne-Jones: the life and works of Sir Edward Burne-Jones (1833–1898) |publisher=Phoenix Illustrated |year=1999 |isbn=0-7538-0727-0 |location=London}}
* {{Cite book |last1=Souter |first1=Tessa |title=The Illustration Handbook: A guide to the world's greatest illustrators |last2=Souter |first2=Nick |date=2012 |publisher=Oceana |isbn=9781845734732}}
{{refend}}

===Further reading===
{{refbegin|2|indent=yes}}
* {{Cite book |last=MacCarthy |first=Fiona |title=The Last Pre-Raphaelite: Edward Burne-Jones and the Victorian Imagination |publisher=Faber & Faber |year=2011 |isbn=978-0-571-22861-4 |author-link=Fiona MacCarthy}}
* [[Brian Clarke|Clarke, Brian]] (2011). ''Burne-Jones: Vast acres and fleeting ecstasies''. ''The Journal of Stained Glass'', Vol. XXXV. The British Society of Master Glass Painters. {{ISBN|978-0-9568762-1-8}}
* Arscott, Caroline. ''William Morris and Edward Burne-Jones: Interlacings'', (New Haven and London: Yale University Press (Published for the Paul Mellon Centre for Studies in British Art), 2008). {{ISBN|978-0-300-14093-4}}.
* {{Cite book |last=Mackail |first=J. W. |title=The Life of William Morris'' in two volumes |date=1899 |publisher=Longmans, Green and Co. |location=London, New York and Bombay |author-link=John William Mackail}} [https://archive.org/details/lifewilliammorr00mackgoog Volume I] and [https://archive.org/details/lifewilliammorr02mackgoog Volume II] (1911 reprint)
* {{cite DNBSupp|last=Mackail|first=J. W.|wstitle=Morris, William (1834-1896) <!--NB dash not ndash on wikisource--> |display=Morris, William (1834–1896)|volume=3|pages=197–203}}
* Marsh, Jan, ''Jane and May Morris: A Biographical Story 1839–1938'', London, Pandora Press, 1986 {{ISBN|0-86358-026-2}}.
* Marsh, Jan, ''Jane and May Morris: A Biographical Story 1839–1938'' (updated edition, privately published by author), London, 2000.
* {{Cite book |last=Marsh |first=Jan |title=The Illustrated Letters and Diaries of the Pre-Raphaelites |date=2018 |publisher=Batsford |isbn=978-1849944960 |edition=Illustrated}}
* {{Cite book |last=Robinson |first=Duncan |title=William Morris, Edward Burne-Jones and the Kelmscott Chaucer |publisher=Gordon Fraser |year=1982 |location=London}}
* {{Cite book |last=Spalding |first=Frances |title=Magnificent Dreams: Burne-Jones and the Late Victorians |publisher=Phaidon |year=1978 |isbn=0-7148-1827-5 |location=Oxford |author-link=Frances Spalding}}
* {{Cite book |last=Todd |first=Pamela |title=Pre-Raphaelites at Home |date=2001 |publisher=Watson-Guptill |isbn=0-8230-4285-5 |location=New York}}
{{refend}}

==External links==
{{commons|Sir Edward Burne-Jones}}
{{DNB01 poster|Burne-Jones, Edward Coley|Sir Edward Coley Burne-Jones}}
* [https://www.eb-j.org/ Online Burne-Jones Catalogue Raisonné]
* {{FadedPage|id=Jones, Sir E. Burne|name=Edward Burne-Jones|author=yes}}
* {{Art UK bio}}
* [http://www.racollection.org.uk/ixbin/indexplus?_IXACTION_=file&_IXFILE_=templates/full/person.html&_IXTRAIL_=Academicians&person=6020 Profile on Royal Academy of Arts Collections]
* [https://web.archive.org/web/20060328043558/http://www.artmagick.com/exhibitions/exhibition.aspx?id=360 The Age of Rossetti, Burne-Jones and Watts: Symbolism in Britain 1860–1910] Online version of exhibit at the Tate Britain 16 October 1997{{snd}}4 January 1998, with 100 works by Burne-Jones, at Art Magick
* [http://www.preraphaelites.org/the-collection/artist-biography/sir-edward-burne-jones/ Birmingham Museums and Art Gallery's Pre-Raphaelite Online Resource] {{Webarchive|url=https://web.archive.org/web/20170422210042/http://www.preraphaelites.org/the-collection/artist-biography/sir-edward-burne-jones/ |date=22 April 2017 }} Large online collection of the works of Edward Burne Jones
* [https://web.archive.org/web/20040401102820/http://www.liverpoolmuseums.org.uk/ladylever/index.asp Lady Lever Art Gallery]
* [http://www.museoarteponce.org/index2.php''The Last Sleep of Arthur in Avalon'' (1881)] in the [https://web.archive.org/web/20070821231449/http://www.museoarteponce.org/index2.php Museo de Arte de Ponce]
* [http://www.preraphaelites.org/  Pre-Raphaelite online resource project website] {{Webarchive|url=https://web.archive.org/web/20090529144625/http://www.preraphaelites.org/ |date=29 May 2009 }} at the [[Birmingham Museums & Art Gallery]], with about a thousand paintings on canvas and works on paper by Edward Burne-Jones
* [https://web.archive.org/web/20060103004712/http://www.visitcumbria.com/burnjons.htm Burne-Jones Stained Glass Windows in Cumbria]
* [http://www.stmartinsbrampton.org.uk The Pre-Raphaelite Church – Brampton]
* [http://www.stainedglassphotography.com/Galleries/Morris/Morris1.htm Some Burne-Jones stained glass designs]
* [http://germanicmythology.com/works/BURNEJONESART.html Stained Glass Window Designs for the Vinland Estate, Newport, Rhode Island, 1881.]
* [https://web.archive.org/web/20070624142247/http://www.church.speldhurst.org/glass%201.asp Speldhurst Church]
* [https://web.archive.org/web/20070708175100/http://www.phryne.com/artists/37-52-26.HTM Phryne's list of pictures in public galleries in the UK]
* [http://mulibraries.missouri.edu/specialcollections/lago.htm Mary Lago Collection] {{Webarchive|url=https://web.archive.org/web/20130719212129/http://mulibraries.missouri.edu/specialcollections/lago.htm |date=19 July 2013 }} at the [[University of Missouri]] Libraries. Personal papers of a Burne-Jones scholar.

{{s-start}}
{{s-reg|uk-bt}}
{{s-new|creation}}
{{s-ttl|title=[[Burne-Jones|Baronet]]<br />'''(of Rottingdean and of the Grange)''' |years=1894–1898 }}
{{s-aft|after=[[Sir Philip Burne-Jones, 2nd Baronet|Philip Burne-Jones]]}}
{{s-end}}

{{Edward Burne-Jones}}
{{Pre-Raphaelite Brotherhood}}
{{Rudyard Kipling}}
{{British and Irish stained glass}}
{{Authority control}}

{{DEFAULTSORT:Burne-Jones, Edward}}
[[Category:1833 births]]
[[Category:1898 deaths]]
[[Category:19th-century English painters]]
[[Category:English male painters]]
[[Category:English stained glass artists and manufacturers]]
[[Category:Pre-Raphaelite painters]]
[[Category:Christian artists]]
[[Category:Artists from Birmingham, West Midlands]]
[[Category:People from Fulham]]
[[Category:Alumni of Exeter College, Oxford]]
[[Category:People educated at King Edward's School, Birmingham]]
[[Category:Associates of the Royal Academy]]
[[Category:Members of the Royal Academy of Belgium]]
[[Category:Baronets in the Baronetage of the United Kingdom]]
[[Category:Artists' Rifles soldiers]]
[[Category:Morris & Co.]]
[[Category:Alumni of the Birmingham School of Art]]
[[Category:Burne-Jones family]]
[[Category:English mosaic artists]]
[[Category:English businesspeople]]
[[Category:English designers]]
[[Category:English company founders]]
[[Category:Manufacturing company founders]]
[[Category:Artists awarded knighthoods]]
[[Category:Painters from the London Borough of Hammersmith and Fulham]]