Hurricon

Edward Burne-Jones epitomises the Victorian era’s spirit of imagination and fascination with the Medieval period. At first associated with the pre-Raphaelites in ink drawings, imaginary portraits and languid, linear compositions of poetic ladies, Burne-Jones’ later compositions gain new vitality, movement and muscular androgyny indebted to Michelangelo. This is nowhere more obvious than in the famous Wheel of Fortune, with its clear reference to Michelangelo’s Captives. Downstairs, his decorative arts designs, largely executed by William Morris & Co, show how stained glass and the Holy Grail tapestry cycle make an ideal vehicle for Burne-Jones’ graphic skills and sense of colour. The paintings are often heavily portentous, but a few charming caricatures – himself falling asleep while being read to by William Morris – reveal a rarely declared humour.