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Burne-Jones, Sir Edward Coley
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| British Pre-Raphaelite Painter, 1833-1898 English painter and decorative artist. He was the leading figure in the second phase of the Pre-Raphaelite movement. His paintings of subjects from medieval legend and Classical mythology and his designs for stained glass, tapestry and many other media played an important part in the Aesthetic Movement and the history of international Symbolism. | ||||
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King Cophetua and the Beggar Maid new3/Burne-Jones, Sir Edward Coley-976834.jpg Painting ID:: 28455 |
1884 Oil on canvas 293 x 150 cm (115 1/2 x 57 1/2 in) Tate Gallery London (mk63) | ||
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Burne-Jones, Sir Edward Coley
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| British Pre-Raphaelite Painter, 1833-1898 English painter and decorative artist. He was the leading figure in the second phase of the Pre-Raphaelite movement. His paintings of subjects from medieval legend and Classical mythology and his designs for stained glass, tapestry and many other media played an important part in the Aesthetic Movement and the history of international Symbolism. | ||||
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King Cophetua and the Beggar Maid new9/Burne-Jones, Sir Edward Coley-265797.jpg Painting ID:: 34010 |
mk87 1884 Oil on canvas 290x136cm London,Tate Gallery | ||
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Arthur Melville
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| British Painter, 1858-1904, Scottish painter. He was trained in Edinburgh under James Campbell Noble (1846-1913) and at the Royal Scottish Academy Schools. His early works are peasant subjects in a subdued tonal style. While at the Acad?mie Julian in Paris and at Grez-sur-Loing (1878-81) he developed a colouristic watercolour style with strong chiaroscuro. This was consolidated during his journey in 1881 to Egypt and Constantinople, and on trips between 1890 and 1893 to Spain (with Frank Brangwyn) and North Africa. Contrasts of strong sunlight and coloured shadows were created in his 'blottesque' technique of colour droplets on paper saturated with Chinese white: sponge and brushwork were used to clarify form, as in Little Bullfight: 'Bravo Toro' (c. 1888-9; London, V&A). He was associated with the Glasgow Boys and influenced their development of colour and design. His closest contact with them came during outdoor sketching trips in Scotland between 1882 and 1889, and in Paris in 1886 and 1889. In 1886 he became an Associate of the Royal Scottish Academy and developed a strongly decorative oil style, seen in Audrey and her Goats (1884-9; London, Tate). | ||||
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King Cophetua and the Beggar Maid new12/Arthur Melville-926576.jpg Painting ID:: 39315 |
mk147 1898 National Gallery of Scotland | ||
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