藝苑掇英 Edward Burne Jones 愛德華·伯恩 瓊斯 1833 1898 Pre Raphaelite Movemen British

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Edward Burne-Jones was one of the finest British artists from the 19th century and this biography examines his life and career in greater detail.
This artist is strongly linked to the Pre-Raphaelite Movement, Arts and Crafts and also Aestheticism, such were the diverse nature of his artistic skills. It would be impossible to summarise his achievements in a short biography, when he was involved in so many different projects and mediums. Fundamental to them all would be his skills as a draughtsman which provided the basis for his paintings, drawings plus designs for tapestries and stained-glass windows.
Edward Burne-Jones considered himself, first and foremost, a craftsman and appreciated his time working for Morris & Co. who allowed him the freedom to concentrate on expressing himself how he liked and also gave him time to perfect his technical skills across a variety of different mediums. Professional artists would tend to find a formula that worked and stick with it for financial gain, but this was never how Burne-Jones saw himself.
He found a like-minded individual in William Morris who shared this same passion for traditional techniques and they were key to the creation of the Arts and Crafts Movement. Art for art's sake was no-longer something to be ashamed of, with Burne-Jones' concentration on feminine beauty in a style that some critics considered to be too similar to the approach of female artists, where as there was enough internal belief in the group to continue as they desired.
愛德華·伯恩·瓊斯爵士（Sir Edward Burne Jones，1833-1898年），英國畫家、圖書插畫家、彩色玻璃和馬賽克設計師。他出生於伯明罕，就讀於牛津大學。在完成大學學業前，受到英國拉斐爾前派畫家和詩人但丁·加百列·羅塞蒂的影響，伯恩·瓊斯將全部注意力轉向藝術。他的作品是當時統治英格蘭的浪漫主義流派的代表。他畫水彩和油畫。他的作品有《金色台階》（1880年）、《大海深處》（1886年），以及《野玫瑰》（1890年）。
愛德華·伯恩·瓊斯的繪畫在線條的運用上，融合了拉斐爾前派的中世紀風格。他筆下的人物造型在尖細感、平面感上，又有古典主義的嚴謹構圖和唯美主義的節奏感以及對文學性題材的超越。伯恩·瓊斯深受後來唯美主義和頹廢主義者的景仰，其中重要的原因是他對現實的蔑視，對物質主義的反感。他甚至很少做室外寫生，在神學院宗教靈性的研習經驗，使他成為「精神景觀」的大師。
瓊斯一生中所涉及的表現領域異常廣泛，舉凡彩繪玻璃，瓷磚，家具，地毯，刺繡，書本插畫，工作坊所經營的所有裝飾藝術的設計工作，他都承包下來。瓊斯性情溫和，用自由自在的技術，在裝飾性空間裡配置美女，製造獨自的纖細而靜謐的世界。 休斯的作品有濃厚的米雷風格，纖細的情感是休斯作品的基調。