| The Garden of Pan | |
|---|---|
 | |
| Artist | Edward Burne-Jones |
| Year | c. 1886 |
| Medium | oil on canvas |
| Dimensions | 152.8 cm× 186.9 cm(60.2 in× 73.6 in) |
| Location | National Gallery of Victoria, Melbourne |
The Garden of Pan is a painting by the pre-Raphaelite artist Edward Burne-Jones which was completed around 1886 and is currently housed at the National Gallery of Victoria. [1]
The subject of this painting was originally to form part of a piece inspired by Burne-Jones's visit to Italy in 1872. The original had intended to depict "the beginning of the world — with Pan and Echo and sylvan gods, and a forest full of centaurs, and a wild background of woods, mountains and rivers." [2] The artist, at some point, decided that the subject was too large and settled on the present design in a series of sketches made in the mid-1870s. [2]
A note in Burne-Jones's work record for 1876 states that he had started work on "the large picture of Pan in the woods", but it was not until 1886 that the picture could be said to be truly begun. The final picture was exhibited in the summer of 1887 at the Grosvenor Gallery. [2]
The painting was purchased by the National Gallery of Victoria in 1919 as part of the Felton Bequest.
The Pre-Raphaelite Brotherhood was a group of English painters, poets, and art critics, founded in 1848 by William Holman Hunt, John Everett Millais, Dante Gabriel Rossetti, William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner who formed a seven-member "Brotherhood" partly modelled on the Nazarene movement. The Brotherhood was only ever a loose association and their principles were shared by other artists of the time, including Ford Madox Brown, Arthur Hughes and Marie Spartali Stillman. Later followers of the principles of the Brotherhood included Edward Burne-Jones, William Morris and John William Waterhouse.
Sir Edward Coley Burne-Jones, 1st Baronet, was an English painter and designer associated with the Pre-Raphaelite Brotherhood's style and subject matter.
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Georgiana, Lady Burne-Jones was a painter and engraver, and the second oldest of the Macdonald sisters. She was married to the Late Pre-Raphaelite artist Edward Burne-Jones, and was also the mother of painter Philip Burne-Jones, aunt of novelist Rudyard Kipling and Prime Minister Stanley Baldwin, confidante and friend of George Eliot, William Morris, and John Ruskin. She was a Trustee of the South London Gallery and was elected to the parish Council of Rottingdean, near Brighton in Sussex.
The Golden Stairs is one of the best-known paintings by the Pre-Raphaelite artist Edward Burne-Jones. It began in 1876 and was exhibited at the Grosvenor Gallery in 1880.
Hope is a late oil painting by the Pre-Raphaelite artist Edward Burne-Jones. It was painted on commission for Mrs. George Marston Whitin of Whitinsville, Massachusetts in 1896.
The Nativity is one of a pair of monumental paintings by the Pre-Raphaelite artist Edward Burne-Jones commissioned for the chancel of the church of St John the Apostle, Torquay, England, in 1887. The Gothic Revival church was designed by architect George Edmund Street in the 1860s and decorated by Morris & Co., the decorative arts firm in which Burne-Jones was a partner.
Stephen Wildman is Professor of the History of Art at the University of Lancaster and Director of the Ruskin Library and Research Centre.
The Mill is an Aesthetic Movement, Renaissance-inspired oil on canvas painting completed by Edward Burne-Jones in 1882. The painting's main feature is three women dancing in front of a mill pond on a summer evening, with a vague wooded landscape spanning the background. The Mill is an oil on canvas painting. It is 91 centimetres (36 in) in height, and 197 centimetres (78 in) in width.
Victorian painting refers to the distinctive styles of painting in the United Kingdom during the reign of Queen Victoria (1837–1901). Victoria's early reign was characterised by rapid industrial development and social and political change, which made the United Kingdom one of the most powerful and advanced nations in the world. Painting in the early years of her reign was dominated by the Royal Academy of Arts and by the theories of its first president, Joshua Reynolds. Reynolds and the academy were strongly influenced by the Italian Renaissance painter Raphael, and believed that it was the role of an artist to make the subject of their work appear as noble and idealised as possible. This had proved a successful approach for artists in the pre-industrial period, where the main subjects of artistic commissions were portraits of the nobility and military and historical scenes. By the time of Victoria's accession to the throne, this approach was coming to be seen as stale and outdated. The rise of the wealthy middle class had changed the art market, and a generation who had grown up in an industrial age believed in the importance of accuracy and attention to detail, and that the role of art was to reflect the world, not to idealise it.
