Acrylic Painting Secrets: Tips & Techniques To Make Acrylic by Bob Davies

By Bob Davies

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7 Another example is Burne-Jones’ Cupid Finding Psyche Asleep of 1872,8 a watercolor, bodycolor, and pastel on paper mounted on linen (Yale Center for British Art, Yale Art Gallery Collection, Mary Gertrude Abbey Fund), which follows the décor of the rose garden in Colonna’s The Fountain of Adonis (compare Figs. 23 and 24). Burne-Jones’ love of Italian Renaissance culture derives from his early schooling at Oxford and his numerous trips to Italy. In his sojourn to Pisa, at Campo Santo, he studies the ancient sarcophagi as well as the Trecento Black Death’s frescoes.

Burne-Jones’ affinity for the Italian Renaissance assimilation of classical thought, particularly as embodied in Colonna’s Hypnerotomachia Poliphili (Venice 1499), is evident in his painting Love Among the Ruins (1870–94, National Trust, Wightwick Manor, UK). Burne-Jones held Colonna’s book in high esteem. His fascination with Italian Renaissance culture derived from his early schooling at Oxford and his numerous trips to Florence, Rome and Venice. The paragone between Colonna’s and Burne-Jones’ imagery reveals the expression of shared aesthetic ideals about beauty in Renaissance and PreRaphaelite art.

Burne-Jones and Morris then begin to focus on medieval and Renaissance history and literature, in particular, courtly sagas such as Guillaume de Lorris and Jean de Meun’s La Roman de la Rose of 1230– 75, Geoffrey Chaucer’s Canterbury Tales of the fourteenth century, Thomas Malory’s Morte d’Arthur of 1470, and Francesco Colonna’s Hypnerotomachia Poliphili of 1499. , Ovid’s Metamorphoses of first century, Thomas Bulfinch’s The Age of Fable Stories of Gods and Heroes of 1855, and early known versions of James Frazer’s Golden Bough, later published in 1890.

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