Phyllis and Demophon - Edward Burne-Jones
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Beskrivning
A mythological scene by Edward Burne-Jones depicting the embrace of Phyllis and Demophon, rendered in watercolour and gouache.
Phyllis and Demophon, executed in 1870, represents a significant moment in the career of Edward Burne-Jones. The work depicts a scene from Greek mythology: the Thracian princess Phyllis, who has transformed into an almond tree, embraces her lover Demophon. The composition focuses on the physical entanglement of the two figures, with Phyllis emerging from the trunk of the tree to clasp Demophon from behind. Her expression is one of longing and sorrow, while Demophon appears startled, his body angled away in a dynamic, twisting posture.
Burne-Jones utilised a muted palette of earthy browns, deep greens, and soft flesh tones to render the figures. The application of watercolour and gouache allows for a delicate handling of the skin and the flowing drapery that partially obscures the figures. The background is sparse, suggesting a woodland setting without distracting from the central interaction. This work is characteristic of the artist's interest in classical themes and his tendency to imbue mythological subjects with a sense of melancholy and romantic tension.
Upon its initial exhibition at the Old Water-Colour Society, the painting caused a minor scandal due to the nudity of the figures. Critics of the period found the depiction of the male figure, in particular, to be overly explicit for the time. Consequently, Burne-Jones withdrew the work from public view for several years. It remains a clear example of the artist's technical skill in handling the human form and his ability to translate ancient narratives into a visual language that resonated with the aesthetic sensibilities of the late Victorian era. The work demonstrates his preference for elongated proportions and a dreamlike, atmospheric quality that defines much of his output during this period.
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Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Phyllis and Demophon - Edward Burne-Jones
Artist Biography
Edward Burne Jones
Though closely associated with Rossetti, Burne-Jones forged his own distinct path, drawing inspiration from Arthurian romances, classical mythology, and the burgeoning Symbolist movement. His works, such as 'The Beguiling of Merlin' and 'King Cophetua and the Beggar Maid', are not mere illustrations but rather explorations of complex emotional states and timeless human dramas. He embraced decorative arts, designing stained glass, tapestries, and mosaics, believing in the unity of art and life.
Burne-Jones's influence extended far beyond his own lifetime. His emphasis on beauty, imagination, and the evocative power of art paved the way for the Aesthetic movement and later Symbolist painters. Collecting a Burne-Jones print allows one to bring a touch of medieval romance and ethereal beauty into the everyday, a reminder of the power of art to transport and transform.
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