Bøger af Edward Burne-Jones

Dream of John Ball (1888) is a novel by English author William Morris about the Great Revolt of 1381, conventionally, but incorrectly (few of the participants were actual peasants), called "the Peasants' Revolt". It features the rebel priest John Ball, who was accused of being a Lollard but was really an early Leveller, the name given in the 17th century for what are today called socialists. John Ball is famed for his question "When Adam delved and Eve span, who was then the gentleman?"Morris draws on Froissart for information on the fourteenth century, but has a different attitude towards the revolting peasants from the chronicler who, Sir Walter Scott once remarked, had "marvelous little sympathy" for the "villain churls." Morris was also aware of interpretations of the Peasants' Revolt as representing a socialist tradition. In 1884 he had written an article in which he stated that "we need make no mistake about the cause for which Wat Tyler and his worthier associate John Ball fell; they were fighting against the fleecing then in fashion, viz.; serfdom or villeinage, which was already beginning to wane before the advance of the industrial gilds."The novel describes a dream and time travel encounter between the medieval and modern worlds, thus contrasting the ethics of medieval and contemporary culture. A time-traveller tells Ball of the decline of feudalism and the rise of the Industrial Revolution. Ball realizes that in the nineteenth century his hopes for an egalitarian society have yet to be fulfilled. A parallel can be drawn with the novel's close contemporary-A Connecticut Yankee in King Arthur's Court (1889) by Mark Twain. Unlike Twain's novel, which depicted early-Medieval England as a violent and chaotic Dark Age, Morris depicts the Middle Ages in a positive light, seeing it as a golden, if brief, period when peasants were prosperous and happy and guilds protected workers from exploitation. This positive portrayal of the Medieval period is a recurring theme in Morris' literary and artistic oeuvre, from the largely pastoral and craftsman based economies of the prose romances, to his similar dream vision of Britain's utopian future, News from Nowhere (1889)................ William Morris (24 March 1834 - 3 October 1896) was an English textile designer, poet, novelist, translator, and socialist activist. Associated with the British Arts and Crafts Movement, he was a major contributor to the revival of traditional British textile arts and methods of production. His literary contributions helped to establish the modern fantasy genre, while he played a significant role in propagating the early socialist movement in Britain. Born in Walthamstow, Essex, to a wealthy middle-class family, Morris came under the strong influence of medievalism while studying Classics at Oxford University, there joining the Birmingham Set. After university he trained as an architect, married Jane Burden, and developed close friendships with the Pre-Raphaelite artists Edward Burne-Jones and Dante Gabriel Rossetti and with the Neo-Gothic architect Philip Webb. Webb and Morris designed a family home, Red House, then in Kent, where the latter lived from 1859 to 1865, before moving to Bloomsbury, central London. In 1861, Morris founded a decorative arts firm with Burne-Jones, Rossetti, Webb, and others: the Morris, Marshall, Faulkner & Co. Sir Edward Coley Burne-Jones, 1st Baronet ARA (28 August 1833 - 17 June 1898) was a British artist and designer closely associated with the later phase of the Pre-Raphaelite movement, who worked closely with William Morris on a wide range of decorative arts as a founding partner in Morris, Marshall, Faulkner & Co.

A Dream of John Ball (1888) is a novel by English author William Morris about the Great Revolt of 1381, conventionally, but incorrectly, called "the Peasants' Revolt", since few of the participants were actual peasants. It features the rebel priest John Ball, who was accused of being a Lollard. He is famed for his question "When Adam delved and Eve span, who was then the gentleman?" Depiction of the Middle Ages: Morris draws on Froissart for information on the fourteenth century, but has a different attitude towards the revolting peasants from the chronicler who, Sir Walter Scott once remarked, had "marvelous little sympathy" for the "villain churls."[2] Morris was also aware of interpretations of the Peasants' Revolt as representing a socialist tradition. In 1884 he had written an article in which he stated that "we need make no mistake about the cause for which Wat Tyler and his worthier associate John Ball fell; they were fighting against the fleecing then in fashion, viz.; serfdom or villeinage, which was already beginning to wane before the advance of the industrial gilds."[3] The novel describes a dream and time travel encounter between the medieval and modern worlds, thus contrasting the ethics of medieval and contemporary culture. A time-traveller tells Ball of the decline of feudalism and the rise of the Industrial Revolution. Ball realizes that in the nineteenth century his hopes for an egalitarian society have yet to be fulfilled. A parallel can be drawn with the novel's close contemporary-A Connecticut Yankee in King Arthur's Court (1889) by Mark Twain. Unlike Twain's novel, which depicted early-Medieval England as a violent and chaotic Dark Age, Morris depicts the Middle Ages in a positive light, seeing it as a golden, if brief, period when peasants were prosperous and happy and guilds protected workers from exploitation. This positive portrayal of the Medieval period is a recurring theme in Morris' literary and artistic oeuvre, from the largely pastoral and craftsman based economies of the prose romances, to his similar dream vision of Britain's utopian future, News from Nowhere (1889)............. William Morris (24 March 1834 - 3 October 1896) was an English textile designer, poet, novelist, translator, and socialist activist. Associated with the British Arts and Crafts Movement, he was a major contributor to the revival of traditional British textile arts and methods of production. His literary contributions helped to establish the modern fantasy genre, while he played a significant role in propagating the early socialist movement in Britain........ Sir Edward Coley Burne-Jones, 1st Baronet ARA (28 August 1833 - 17 June 1898) was a British artist and designer closely associated with the later phase of the Pre-Raphaelite movement, who worked closely with William Morris on a wide range of decorative arts as a founding partner in Morris, Marshall, Faulkner & Co...............

- The conversations of Burne-Jones, 19th-century painter of melancholy, abstract angels, with his assistant, revealing a loveable, witty man, articulate about his world, craft and contemporariesTo know his work without his talk is "not to know him" ...only when they are side by side is the common origin and aim seen and the complete man displayed.' Thus Thomas Rooke, studio assistant to Burne-Jones, who over four years memorized and recorded much of his master's studio and lunch-table talk. The man revealed with startling freshness and immediacy is far from the familiar painter of knightly melancholy and abstract angels. Burne-Jones emerges as a loveable and charming man, far more practical and down-to-earth, far more witty and ironic than might have been expected. He may still regret that he was not born in the Middle Ages and reminisce about the golden years with William Morris and Dante Gabriel Rossetti in the 1850's and '60s. But he is still hard at work on his last great collaboration with Morris, the Kelmscott Chaucer, while not hesitating to fulminate about Britain's imperial pretensions and the hypocrisy that accompanied them. And he is unfailingly articulate when it comes to discussing the craft of painting in relation to himself, his contemporaries and the giants of the past. The conversations are edited by Mary Lago, Professor of English at the University of Missouri-Columbia.

The last work of Burne-Jones: a series of woodcut illustrations to the first chapters of Genesis, making a perfect epitome of his art. Reprinted from the original edition of 1902.