LaurieAnnie's photos with the keyword: Pre-Raphaelite

Hope Sir Edward Coley Burne-Jones (English, 1833–1898) 1896 Medium/Technique Oil on canvas Dimensions 179 x 63.5 cm (70 1/2 x 25 in.) Credit Line Given in memory of Mrs. George Marston Whitin by her four daughters, Mrs. Lawrence Murray Keeler, Mrs. Sydney Russell Mason, Mrs. Elijah Kent Swift and Mrs. William Carey Crane Accession Number: 40.778 Collections: Europe Classifications: Paintings Hope, one of the three theological Virtues, is symbolized here as a prisoner chained indoors, holding a branch of apple blossoms and reaching upward to pull the blue sky down toward her. The slender, vertical format of this painting recalls the fact that many of Burne-Jones's designs were successfully translated into stained-glass windows and textiles. Burne-Jones painted this work for Mrs. Whitin, of Whitinsville, Massachusetts. He had previously worked on a large watercolor version of the same subject. Inscriptions: Lower right: E:BURNE:JONES: / Finished 1896: Provenance1896, Mrs. George Marston Whitin (Catharine Whitin Lasell) (b. 1856), Whitinsville, MA (original commission) [see note 1]; by descent to her daughters, Mrs. Lawrence Murray Keeler (Elizabeth Klock Whitin, b. 1880), Mrs. Sydney Russell Mason (Elsa Whitin, b. 1884), Mrs. Elijah Kent Swift (Katharine Leland Whitin, b. 1887), and Mrs. William Carey Crane (Lois Haven Whitin, b. 1896), Whitinsville; 1940, gift of Mrs. Lawrence Murray Keeler, Mrs. Sydney Russell Mason, Mrs. Elijah Kent Swift and Mrs. William Carey Crane to the MFA. (Accession Date: November 14, 1940) NOTES: [1] Edward Burne-Jones had been commissioned by Mrs. Whitin, through Christine Barrington, an intermediary, to paint a dancing figure. A letter from Ms. Barrington to Mrs. Whitin (July 29, 1896; typed transcript in the MFA curatorial file) indicates that by mid-1896, work on the commission was proceeding poorly. She wrote: "This picture that he is at now is the figure of 'Hope' (oils of course) 'a girl [I quote from him now] in prison, reaching up one hand, and pulling the blue sky down to her. Flowers are springing up between the stone flags of her cell, and a branch of apple tree is in full blossom in her other hand. Will you let me know if this will be liked, and I will go on with it quickly, and undertake to finish it within the year.' " A letter from Ms. Barrington to Mrs. Whitin (September 9, 1896) confirms her acceptance of his offer for the painting of Hope; correspondence from 1897 between Mrs. Whitin and the artist discusses shipment and payment. Text from: collections.mfa.org/objects/32751/hope

Hope Sir Edward Coley Burne-Jones (English, 1833–1898) 1896 Medium/Technique Oil on canvas Dimensions 179 x 63.5 cm (70 1/2 x 25 in.) Credit Line Given in memory of Mrs. George Marston Whitin by her four daughters, Mrs. Lawrence Murray Keeler, Mrs. Sydney Russell Mason, Mrs. Elijah Kent Swift and Mrs. William Carey Crane Accession Number: 40.778 Collections: Europe Classifications: Paintings Hope, one of the three theological Virtues, is symbolized here as a prisoner chained indoors, holding a branch of apple blossoms and reaching upward to pull the blue sky down toward her. The slender, vertical format of this painting recalls the fact that many of Burne-Jones's designs were successfully translated into stained-glass windows and textiles. Burne-Jones painted this work for Mrs. Whitin, of Whitinsville, Massachusetts. He had previously worked on a large watercolor version of the same subject. Inscriptions: Lower right: E:BURNE:JONES: / Finished 1896: Provenance1896, Mrs. George Marston Whitin (Catharine Whitin Lasell) (b. 1856), Whitinsville, MA (original commission) [see note 1]; by descent to her daughters, Mrs. Lawrence Murray Keeler (Elizabeth Klock Whitin, b. 1880), Mrs. Sydney Russell Mason (Elsa Whitin, b. 1884), Mrs. Elijah Kent Swift (Katharine Leland Whitin, b. 1887), and Mrs. William Carey Crane (Lois Haven Whitin, b. 1896), Whitinsville; 1940, gift of Mrs. Lawrence Murray Keeler, Mrs. Sydney Russell Mason, Mrs. Elijah Kent Swift and Mrs. William Carey Crane to the MFA. (Accession Date: November 14, 1940) NOTES: [1] Edward Burne-Jones had been commissioned by Mrs. Whitin, through Christine Barrington, an intermediary, to paint a dancing figure. A letter from Ms. Barrington to Mrs. Whitin (July 29, 1896; typed transcript in the MFA curatorial file) indicates that by mid-1896, work on the commission was proceeding poorly. She wrote: "This picture that he is at now is the figure of 'Hope' (oils of course) 'a girl [I quote from him now] in prison, reaching up one hand, and pulling the blue sky down to her. Flowers are springing up between the stone flags of her cell, and a branch of apple tree is in full blossom in her other hand. Will you let me know if this will be liked, and I will go on with it quickly, and undertake to finish it within the year.' " A letter from Ms. Barrington to Mrs. Whitin (September 9, 1896) confirms her acceptance of his offer for the painting of Hope; correspondence from 1897 between Mrs. Whitin and the artist discusses shipment and payment. Text from: collections.mfa.org/objects/32751/hope

Title: The Ransom Artist/Maker: John Everett Millais (English, 1829 - 1896) Culture: English Date: 1860–1862 Medium: Oil on canvas Object Number: 72.PA.13 Dimensions: 129.5 × 114.3 cm (51 × 45 in.) Signed: lower right: Millais monogram and "1862". Object Type: Painting Standing on the right, a kidnapper firmly grasps the arm of a young girl while an armored knight tries to hand over precious jewels. In this theatrical painting, John Everett Millais depicted a sixteenth-century scene of a father paying ransom for his two daughters. The subject matter and technique are typical of the Pre-Raphaelite movement founded by Millais. Although he wanted to express a moral seriousness in his work, the drama is unconvincing: the figures are stiff and too large for the room they inhabit. The Ransom received criticism of this kind when it was exhibited, but no one could find fault with Millais's painting technique. The sharp, near-photographic rendering of objects, materials, and individuals display Millais's technical brilliance. To produce this painting, Millais enlisted the help of those around him. His mother made and designed the costumes. His friend Mr. Miller posed for the head of the knight, while a railway guard named "Strong" was the model for the knight's body. The girls were painted from one model, Miss Helen Petrie, and Major McBean posed as one of the kidnappers. Apparently not pleased with the end result, Millais later referred to this painting as "the picture with the dreadful blue-and-white page in the corner." Text from: www.getty.edu/art/collection/objects/616/john-everett-millais-the-ransom-english-1860-1862

Title: The Ransom Artist/Maker: John Everett Millais (English, 1829 - 1896) Culture: English Date: 1860–1862 Medium: Oil on canvas Object Number: 72.PA.13 Dimensions: 129.5 × 114.3 cm (51 × 45 in.) Signed: lower right: Millais monogram and "1862". Object Type: Painting Standing on the right, a kidnapper firmly grasps the arm of a young girl while an armored knight tries to hand over precious jewels. In this theatrical painting, John Everett Millais depicted a sixteenth-century scene of a father paying ransom for his two daughters. The subject matter and technique are typical of the Pre-Raphaelite movement founded by Millais. Although he wanted to express a moral seriousness in his work, the drama is unconvincing: the figures are stiff and too large for the room they inhabit. The Ransom received criticism of this kind when it was exhibited, but no one could find fault with Millais's painting technique. The sharp, near-photographic rendering of objects, materials, and individuals display Millais's technical brilliance. To produce this painting, Millais enlisted the help of those around him. His mother made and designed the costumes. His friend Mr. Miller posed for the head of the knight, while a railway guard named "Strong" was the model for the knight's body. The girls were painted from one model, Miss Helen Petrie, and Major McBean posed as one of the kidnappers. Apparently not pleased with the end result, Millais later referred to this painting as "the picture with the dreadful blue-and-white page in the corner." Text from: www.getty.edu/art/collection/objects/616/john-everett-millais-the-ransom-english-1860-1862

Title: The Ransom Artist/Maker: John Everett Millais (English, 1829 - 1896) Culture: English Date: 1860–1862 Medium: Oil on canvas Object Number: 72.PA.13 Dimensions: 129.5 × 114.3 cm (51 × 45 in.) Signed: lower right: Millais monogram and "1862". Object Type: Painting Standing on the right, a kidnapper firmly grasps the arm of a young girl while an armored knight tries to hand over precious jewels. In this theatrical painting, John Everett Millais depicted a sixteenth-century scene of a father paying ransom for his two daughters. The subject matter and technique are typical of the Pre-Raphaelite movement founded by Millais. Although he wanted to express a moral seriousness in his work, the drama is unconvincing: the figures are stiff and too large for the room they inhabit. The Ransom received criticism of this kind when it was exhibited, but no one could find fault with Millais's painting technique. The sharp, near-photographic rendering of objects, materials, and individuals display Millais's technical brilliance. To produce this painting, Millais enlisted the help of those around him. His mother made and designed the costumes. His friend Mr. Miller posed for the head of the knight, while a railway guard named "Strong" was the model for the knight's body. The girls were painted from one model, Miss Helen Petrie, and Major McBean posed as one of the kidnappers. Apparently not pleased with the end result, Millais later referred to this painting as "the picture with the dreadful blue-and-white page in the corner." Text from: www.getty.edu/art/collection/objects/616/john-everett-millais-the-ransom-english-1860-1862

Title: The Ransom Artist/Maker: John Everett Millais (English, 1829 - 1896) Culture: English Date: 1860–1862 Medium: Oil on canvas Object Number: 72.PA.13 Dimensions: 129.5 × 114.3 cm (51 × 45 in.) Signed: lower right: Millais monogram and "1862". Object Type: Painting Standing on the right, a kidnapper firmly grasps the arm of a young girl while an armored knight tries to hand over precious jewels. In this theatrical painting, John Everett Millais depicted a sixteenth-century scene of a father paying ransom for his two daughters. The subject matter and technique are typical of the Pre-Raphaelite movement founded by Millais. Although he wanted to express a moral seriousness in his work, the drama is unconvincing: the figures are stiff and too large for the room they inhabit. The Ransom received criticism of this kind when it was exhibited, but no one could find fault with Millais's painting technique. The sharp, near-photographic rendering of objects, materials, and individuals display Millais's technical brilliance. To produce this painting, Millais enlisted the help of those around him. His mother made and designed the costumes. His friend Mr. Miller posed for the head of the knight, while a railway guard named "Strong" was the model for the knight's body. The girls were painted from one model, Miss Helen Petrie, and Major McBean posed as one of the kidnappers. Apparently not pleased with the end result, Millais later referred to this painting as "the picture with the dreadful blue-and-white page in the corner." Text from: www.getty.edu/art/collection/objects/616/john-everett-millais-the-ransom-english-1860-1862

Title: The Ransom Artist/Maker: John Everett Millais (English, 1829 - 1896) Culture: English Date: 1860–1862 Medium: Oil on canvas Object Number: 72.PA.13 Dimensions: 129.5 × 114.3 cm (51 × 45 in.) Signed: lower right: Millais monogram and "1862". Object Type: Painting Standing on the right, a kidnapper firmly grasps the arm of a young girl while an armored knight tries to hand over precious jewels. In this theatrical painting, John Everett Millais depicted a sixteenth-century scene of a father paying ransom for his two daughters. The subject matter and technique are typical of the Pre-Raphaelite movement founded by Millais. Although he wanted to express a moral seriousness in his work, the drama is unconvincing: the figures are stiff and too large for the room they inhabit. The Ransom received criticism of this kind when it was exhibited, but no one could find fault with Millais's painting technique. The sharp, near-photographic rendering of objects, materials, and individuals display Millais's technical brilliance. To produce this painting, Millais enlisted the help of those around him. His mother made and designed the costumes. His friend Mr. Miller posed for the head of the knight, while a railway guard named "Strong" was the model for the knight's body. The girls were painted from one model, Miss Helen Petrie, and Major McBean posed as one of the kidnappers. Apparently not pleased with the end result, Millais later referred to this painting as "the picture with the dreadful blue-and-white page in the corner." Text from: www.getty.edu/art/collection/objects/616/john-everett-millais-the-ransom-english-1860-1862

Title: The Ransom Artist/Maker: John Everett Millais (English, 1829 - 1896) Culture: English Date: 1860–1862 Medium: Oil on canvas Object Number: 72.PA.13 Dimensions: 129.5 × 114.3 cm (51 × 45 in.) Signed: lower right: Millais monogram and "1862". Object Type: Painting Standing on the right, a kidnapper firmly grasps the arm of a young girl while an armored knight tries to hand over precious jewels. In this theatrical painting, John Everett Millais depicted a sixteenth-century scene of a father paying ransom for his two daughters. The subject matter and technique are typical of the Pre-Raphaelite movement founded by Millais. Although he wanted to express a moral seriousness in his work, the drama is unconvincing: the figures are stiff and too large for the room they inhabit. The Ransom received criticism of this kind when it was exhibited, but no one could find fault with Millais's painting technique. The sharp, near-photographic rendering of objects, materials, and individuals display Millais's technical brilliance. To produce this painting, Millais enlisted the help of those around him. His mother made and designed the costumes. His friend Mr. Miller posed for the head of the knight, while a railway guard named "Strong" was the model for the knight's body. The girls were painted from one model, Miss Helen Petrie, and Major McBean posed as one of the kidnappers. Apparently not pleased with the end result, Millais later referred to this painting as "the picture with the dreadful blue-and-white page in the corner." Text from: www.getty.edu/art/collection/objects/616/john-everett-millais-the-ransom-english-1860-1862

Title: The Ransom Artist/Maker: John Everett Millais (English, 1829 - 1896) Culture: English Date: 1860–1862 Medium: Oil on canvas Object Number: 72.PA.13 Dimensions: 129.5 × 114.3 cm (51 × 45 in.) Signed: lower right: Millais monogram and "1862". Object Type: Painting Standing on the right, a kidnapper firmly grasps the arm of a young girl while an armored knight tries to hand over precious jewels. In this theatrical painting, John Everett Millais depicted a sixteenth-century scene of a father paying ransom for his two daughters. The subject matter and technique are typical of the Pre-Raphaelite movement founded by Millais. Although he wanted to express a moral seriousness in his work, the drama is unconvincing: the figures are stiff and too large for the room they inhabit. The Ransom received criticism of this kind when it was exhibited, but no one could find fault with Millais's painting technique. The sharp, near-photographic rendering of objects, materials, and individuals display Millais's technical brilliance. To produce this painting, Millais enlisted the help of those around him. His mother made and designed the costumes. His friend Mr. Miller posed for the head of the knight, while a railway guard named "Strong" was the model for the knight's body. The girls were painted from one model, Miss Helen Petrie, and Major McBean posed as one of the kidnappers. Apparently not pleased with the end result, Millais later referred to this painting as "the picture with the dreadful blue-and-white page in the corner." Text from: www.getty.edu/art/collection/objects/616/john-everett-millais-the-ransom-english-1860-1862

Title: The Ransom Artist/Maker: John Everett Millais (English, 1829 - 1896) Culture: English Date: 1860–1862 Medium: Oil on canvas Object Number: 72.PA.13 Dimensions: 129.5 × 114.3 cm (51 × 45 in.) Signed: lower right: Millais monogram and "1862". Object Type: Painting Standing on the right, a kidnapper firmly grasps the arm of a young girl while an armored knight tries to hand over precious jewels. In this theatrical painting, John Everett Millais depicted a sixteenth-century scene of a father paying ransom for his two daughters. The subject matter and technique are typical of the Pre-Raphaelite movement founded by Millais. Although he wanted to express a moral seriousness in his work, the drama is unconvincing: the figures are stiff and too large for the room they inhabit. The Ransom received criticism of this kind when it was exhibited, but no one could find fault with Millais's painting technique. The sharp, near-photographic rendering of objects, materials, and individuals display Millais's technical brilliance. To produce this painting, Millais enlisted the help of those around him. His mother made and designed the costumes. His friend Mr. Miller posed for the head of the knight, while a railway guard named "Strong" was the model for the knight's body. The girls were painted from one model, Miss Helen Petrie, and Major McBean posed as one of the kidnappers. Apparently not pleased with the end result, Millais later referred to this painting as "the picture with the dreadful blue-and-white page in the corner." Text from: www.getty.edu/art/collection/objects/616/john-everett-millais-the-ransom-english-1860-1862

Title: The Ransom Artist/Maker: John Everett Millais (English, 1829 - 1896) Culture: English Date: 1860–1862 Medium: Oil on canvas Object Number: 72.PA.13 Dimensions: 129.5 × 114.3 cm (51 × 45 in.) Signed: lower right: Millais monogram and "1862". Object Type: Painting Standing on the right, a kidnapper firmly grasps the arm of a young girl while an armored knight tries to hand over precious jewels. In this theatrical painting, John Everett Millais depicted a sixteenth-century scene of a father paying ransom for his two daughters. The subject matter and technique are typical of the Pre-Raphaelite movement founded by Millais. Although he wanted to express a moral seriousness in his work, the drama is unconvincing: the figures are stiff and too large for the room they inhabit. The Ransom received criticism of this kind when it was exhibited, but no one could find fault with Millais's painting technique. The sharp, near-photographic rendering of objects, materials, and individuals display Millais's technical brilliance. To produce this painting, Millais enlisted the help of those around him. His mother made and designed the costumes. His friend Mr. Miller posed for the head of the knight, while a railway guard named "Strong" was the model for the knight's body. The girls were painted from one model, Miss Helen Petrie, and Major McBean posed as one of the kidnappers. Apparently not pleased with the end result, Millais later referred to this painting as "the picture with the dreadful blue-and-white page in the corner." Text from: www.getty.edu/art/collection/objects/616/john-everett-millais-the-ransom-english-1860-1862

Title: The Ransom Artist/Maker: John Everett Millais (English, 1829 - 1896) Culture: English Date: 1860–1862 Medium: Oil on canvas Object Number: 72.PA.13 Dimensions: 129.5 × 114.3 cm (51 × 45 in.) Signed: lower right: Millais monogram and "1862". Object Type: Painting Standing on the right, a kidnapper firmly grasps the arm of a young girl while an armored knight tries to hand over precious jewels. In this theatrical painting, John Everett Millais depicted a sixteenth-century scene of a father paying ransom for his two daughters. The subject matter and technique are typical of the Pre-Raphaelite movement founded by Millais. Although he wanted to express a moral seriousness in his work, the drama is unconvincing: the figures are stiff and too large for the room they inhabit. The Ransom received criticism of this kind when it was exhibited, but no one could find fault with Millais's painting technique. The sharp, near-photographic rendering of objects, materials, and individuals display Millais's technical brilliance. To produce this painting, Millais enlisted the help of those around him. His mother made and designed the costumes. His friend Mr. Miller posed for the head of the knight, while a railway guard named "Strong" was the model for the knight's body. The girls were painted from one model, Miss Helen Petrie, and Major McBean posed as one of the kidnappers. Apparently not pleased with the end result, Millais later referred to this painting as "the picture with the dreadful blue-and-white page in the corner." Text from: www.getty.edu/art/collection/objects/616/john-everett-millais-the-ransom-english-1860-1862

Title: The Ransom Artist/Maker: John Everett Millais (English, 1829 - 1896) Culture: English Date: 1860–1862 Medium: Oil on canvas Object Number: 72.PA.13 Dimensions: 129.5 × 114.3 cm (51 × 45 in.) Signed: lower right: Millais monogram and "1862". Object Type: Painting Standing on the right, a kidnapper firmly grasps the arm of a young girl while an armored knight tries to hand over precious jewels. In this theatrical painting, John Everett Millais depicted a sixteenth-century scene of a father paying ransom for his two daughters. The subject matter and technique are typical of the Pre-Raphaelite movement founded by Millais. Although he wanted to express a moral seriousness in his work, the drama is unconvincing: the figures are stiff and too large for the room they inhabit. The Ransom received criticism of this kind when it was exhibited, but no one could find fault with Millais's painting technique. The sharp, near-photographic rendering of objects, materials, and individuals display Millais's technical brilliance. To produce this painting, Millais enlisted the help of those around him. His mother made and designed the costumes. His friend Mr. Miller posed for the head of the knight, while a railway guard named "Strong" was the model for the knight's body. The girls were painted from one model, Miss Helen Petrie, and Major McBean posed as one of the kidnappers. Apparently not pleased with the end result, Millais later referred to this painting as "the picture with the dreadful blue-and-white page in the corner." Text from: www.getty.edu/art/collection/objects/616/john-everett-millais-the-ransom-english-1860-1862

Artist Sir Edward Burne-Jones (English, 1833–1898) Title The Love Song Date 1868–77 Medium Oil on canvas Dimensions 45 x 61 3/8 in. (114.3 x 155.9 cm) Credit Line The Alfred N. Punnett Endowment Fund, 1947 Accession Number 47.26 In 1846, the painter and poet Dante Gabriel Rossetti was a founding member of the circle of artists known as the Pre-Raphaelite Brotherhood. Nine years later he assembled a group of seven friends to help him decorate the Oxford Union Building with scenes from Sir Thomas Malory's "Morte d'Arthur." One of the driving forces of this "second Brotherhood" was Edward Burne-Jones. His "Love Song," with its figures reminiscent of the fifteenth-century Venetian painter Vittore Carpaccio and its "Arthurian" landscape bathed in evening light, reflects the profound influence of both the Italian Renaissance and the gothicizing Pre-Raphaelite movement. This painting is the definitive version of several works that Burne-Jones based on a refrain from an old Breton song: "Hélas! je sais un chant d'amour, / Triste ou gai, tour à tour" (Alas, I know a love song, / Sad or happy, each in turn). Text from: www.metmuseum.org/works_of_art/collection_database/europe...

Artist: Sir John Everett Millais (English, 1829–1896) Title: Portia (Kate Dolan) Date: 1886 Medium: Oil on canvas Dimensions: 49 1/4 x 33 in. (125.1 x 83.8 cm) Classification: Paintings Credit Line: Catharine Lorillard Wolfe Collection, Wolfe Fund, 1906 Accession Number: 06.1328 Gallery Label: Millais is best known as one of the artists who founded the Pre-Raphaelite Brotherhood in 1848. As a result of what have been called his "concessions to the sweetness of Victorian taste," he was made as associate of the Royal Academy in 1853. By the time he painted "Portia," there was hardly a trace of the Pre-Raphaelite style in his work. Instead, he worked in an academic-realist manner and concentrated on the kinds of saccharine subjects that are now synonymous with Victorian painting. This picture was long incorrectly identified as a portrait of the actress Ellen Terry (1847–1928) in one of her most famous roles, Portia in Shakespeare's "The Merchant of Venice." In fact, it shows actress Kate Dolan dressed in the costume that Miss Terry wore in Act IV of the play. When the picture was exhibited at McLean's Gallery, London, in 1886, Shylock's line describing Portia was quoted in the catalogue: "A Daniel come to judgement! Yea, a Daniel!" X-rays and pentimenti indicate that "Portia" is painted over a study of the same figure in Greek costume. An early photograph documenting the original image was published in 1899. Text from: www.metmuseum.org/Works_of_Art/collection_database/europe...

Artist: Sir John Everett Millais (English, 1829–1896) Title: Portia (Kate Dolan) Date: 1886 Medium: Oil on canvas Dimensions: 49 1/4 x 33 in. (125.1 x 83.8 cm) Classification: Paintings Credit Line: Catharine Lorillard Wolfe Collection, Wolfe Fund, 1906 Accession Number: 06.1328 Gallery Label: Millais is best known as one of the artists who founded the Pre-Raphaelite Brotherhood in 1848. As a result of what have been called his "concessions to the sweetness of Victorian taste," he was made as associate of the Royal Academy in 1853. By the time he painted "Portia," there was hardly a trace of the Pre-Raphaelite style in his work. Instead, he worked in an academic-realist manner and concentrated on the kinds of saccharine subjects that are now synonymous with Victorian painting. This picture was long incorrectly identified as a portrait of the actress Ellen Terry (1847–1928) in one of her most famous roles, Portia in Shakespeare's "The Merchant of Venice." In fact, it shows actress Kate Dolan dressed in the costume that Miss Terry wore in Act IV of the play. When the picture was exhibited at McLean's Gallery, London, in 1886, Shylock's line describing Portia was quoted in the catalogue: "A Daniel come to judgement! Yea, a Daniel!" X-rays and pentimenti indicate that "Portia" is painted over a study of the same figure in Greek costume. An early photograph documenting the original image was published in 1899. Text from: www.metmuseum.org/Works_of_Art/collection_database/europe...

Artist Sir Edward Burne-Jones (English, 1833–1898) Title The Love Song Date 1868–77 Medium Oil on canvas Dimensions 45 x 61 3/8 in. (114.3 x 155.9 cm) Credit Line The Alfred N. Punnett Endowment Fund, 1947 Accession Number 47.26 In 1846, the painter and poet Dante Gabriel Rossetti was a founding member of the circle of artists known as the Pre-Raphaelite Brotherhood. Nine years later he assembled a group of seven friends to help him decorate the Oxford Union Building with scenes from Sir Thomas Malory's "Morte d'Arthur." One of the driving forces of this "second Brotherhood" was Edward Burne-Jones. His "Love Song," with its figures reminiscent of the fifteenth-century Venetian painter Vittore Carpaccio and its "Arthurian" landscape bathed in evening light, reflects the profound influence of both the Italian Renaissance and the gothicizing Pre-Raphaelite movement. This painting is the definitive version of several works that Burne-Jones based on a refrain from an old Breton song: "Hélas! je sais un chant d'amour, / Triste ou gai, tour à tour" (Alas, I know a love song, / Sad or happy, each in turn). Text from: www.metmuseum.org/works_of_art/collection_database/europe...

Artist Sir Edward Burne-Jones (English, 1833–1898) Title The Love Song Date 1868–77 Medium Oil on canvas Dimensions 45 x 61 3/8 in. (114.3 x 155.9 cm) Credit Line The Alfred N. Punnett Endowment Fund, 1947 Accession Number 47.26 In 1846, the painter and poet Dante Gabriel Rossetti was a founding member of the circle of artists known as the Pre-Raphaelite Brotherhood. Nine years later he assembled a group of seven friends to help him decorate the Oxford Union Building with scenes from Sir Thomas Malory's "Morte d'Arthur." One of the driving forces of this "second Brotherhood" was Edward Burne-Jones. His "Love Song," with its figures reminiscent of the fifteenth-century Venetian painter Vittore Carpaccio and its "Arthurian" landscape bathed in evening light, reflects the profound influence of both the Italian Renaissance and the gothicizing Pre-Raphaelite movement. This painting is the definitive version of several works that Burne-Jones based on a refrain from an old Breton song: "Hélas! je sais un chant d'amour, / Triste ou gai, tour à tour" (Alas, I know a love song, / Sad or happy, each in turn). Text from: www.metmuseum.org/works_of_art/collection_database/europe...