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Edward Burne-Jones’ Mythical Paintings

The Pygmalion of the Pre-Raphaelite Painters

Liana De Girolami Cheney

This book focuses on Sir Edward Burne-Jones’ mythical paintings from 1868 to 1886. His artistic training and traveling experiences, his love for the Greek-sculptress, Maria Zambaco, and his aesthetic sensibility provided the background for these mythical paintings. This book analyzes two main concepts: Burne-Jones’ assimilation of Neoplatonic ideal beauty as depicted in his solo and narrative paintings, and Burne-Jones’ fusion of the classical and emblematic traditions in his imagery.


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Acknowledgments xxiii


Acknowledgments I want to express my sincere gratitude to the following journals and book publishers for allowing the reproduction in part or in its entirety of my following essays: Liana De Girolami Cheney, “Edward Burne-Jones’ Love Among the Ruins,” in The Review of the Pre-Raphaelite Society Journal, 20 (Summer 2012), pp. 2–13 Liana De Girolami Cheney, “Burne-Jones’ Andromeda: A Mythological Legend,” Artibus et Historiae (2003), pp. 35–55. Liana De Girolami Cheney, “Edward Burne-Jones’ Cupid and Psyche: The Enchantment of an Ancient Tale,” in Wege zum Mythos, ed. Gerlinde Huber-Rebenich and Luba Fredman (Berlin: University of Mannheim, 2000), pp. 57–71. Liana De Girolami Cheney, “Burne-Jones: Mannerist in an Age of Modernism,” in Pre- Raphaelite Art in its European Context, eds. Susan Casteras and Alicia Faxon (Cranbury, NJ: Fairleigh Dickinson Press, Associated University Press, 1994), pp. 103–16. Liana De Girolami Cheney, “The Fair Lady and the Virgin in Pre-Raphaelite Iconography,” in Pre-Raphaelitism and Medievalism in the Arts, ed. Liana De Girolami Cheney (New York: Edwin Mellen, 1992), pp. 242–81. My appreciation is also extended to all the galleries, museums, private collectors, photographers, and photographic companies who permitted the reproductions of the included images in this book.

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