{"product_id":"edward-burne-jones-phyllis-and-demophoon-pre-raphaelite-art-print","title":"Edward Burne-Jones — Phyllis and Demophoon | Pre-Raphaelite Art Print","description":"\u003cp\u003eA red-haired woman bursts from the trunk of a blossoming tree, her green drapery streaming, and flings her arms around a young man from behind, clasping his wrist. He turns his head back toward her with wide, startled eyes, one fist raised as he strains to pull away. Pink blossom fills the top edge, and a green meadow with snowdrops and yellow crocuses spreads below. The subject is Phyllis, changed into a tree, reaching for Demophoon.\u003c\/p\u003e\u003cp\u003eShown at the Old Water-Colour Society in 1870, the picture caused a controversy: the features of Maria Zambaco were recognisable in the barely draped Phyllis, and the unclothed Demophoon and the suggestion of a woman taking the lead offended Victorian taste. Burne-Jones resigned his membership over it.\u003c\/p\u003e\u003cp\u003eThe original: watercolour, 1870, Birmingham Museum and Art Gallery.\u003c\/p\u003e\u003cp\u003eEdward Burne-Jones (1833–1898) was an English painter and designer, born in Birmingham. He left Exeter College, Oxford, where he had been training for the ministry, after meeting Dante Gabriel Rossetti, whose influence shaped his early painting, and became a founding partner with William Morris in the decorative arts firm Morris, Marshall, Faulkner \u0026amp; Co. His paintings, drawing on medieval legend and classical myth, developed a dreamlike, tapestry-like style distinct from the earlier Pre-Raphaelites and closely tied to the Aesthetic Movement. The Birmingham Museum and Art Gallery holds the largest collection of his work in the world, alongside Tate and the Ashmolean Museum.\u003c\/p\u003e\u003cp\u003ePrinted as a museum-grade giclée on Hahnemühle fine art paper using 12-ink archival pigment printing. Available handframed in FSC-certified wood with optional float glass, or unframed. 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