Tempera on paper
Tate Collection
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<a href="https://www.tate.org.uk/art/artists/sir-edward-coley-burne-jones-bt-68" aria-label="More by Sir Edward Coley Burne-Jones, Bt" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Sir Edward Coley Burne-Jones, Bt</a>
Orpheus and Eurydice
Bequeathed by Miss Maud Beddington 1940
<p>In 1880 the piano makers Broadwood completed a piano which had been designed and decorated by Burne-Jones. The instrument was a present for Frances Graham from her father, William, one of Burne-Jones's most devoted patrons. On the sides of the piano Burne-Jones painted a number of scenes from the story of Orpheus in grey monochrome. The studies shown here predate his main work on the project and only two of them were eventually used (nos.33 and 36). Throughout his career Burne-Jones was interested in the possibilities of reforming the appearance of pianos, referring to them as the 'very altar of homes, and a second hearth to people'.</p><p><em>Gallery label, August 2004</em></p>
paper unique tempera
14 December 2018 – 19 September 2021
2021-09-19
19 June 2019 – 6 October 2019
2019-10-06
2019-06-19
Palazzo Reale (Milan, Italy)
13 May 2021 – 19 September 2021
2021-09-19
2021-05-13
Hungarian National Gallery (Budapest, Hungary)
2018-12-14
Pre-Raphaelite Brotherhood
Tate partnerships & programmes
Orpheus and Eurydice
support: 262 × 258 mm
Bequeathed by Miss Maud Beddington 1940
<p>In 1880 the piano makers Broadwood completed a piano which had been designed and decorated by Burne-Jones. The instrument was a present for Frances Graham from her father, William, one of Burne-Jones's most devoted patrons. On the sides of the piano Burne-Jones painted a number of scenes from the story of Orpheus in grey <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/m/monochrome" title="Glossary definition for 'Monochrome'"><span>monochrome</span></a>. The studies shown here predate his main work on the project and only two of them were eventually used (nos.33 and 36). Throughout his career Burne-Jones was interested in the possibilities of reforming the appearance of pianos, referring to them as the 'very altar of homes, and a second hearth to people'. <br/></p>
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2004-08-18T00:00:00
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