Head study of Maria Zambaco for Nimue in ‘The Beguiling of Merlin’
A hand-painted replica of Sir Edward Coley Burne-Jones’s masterpiece Head study of Maria Zambaco for Nimue in ‘The Beguiling of Merlin’, meticulously crafted by professional artists to capture the true essence of the original. Each piece is created with museum-quality canvas and rare mineral pigments, carefully painted by experienced artists with delicate brushstrokes and rich, layered colors to perfectly recreate the texture of the original artwork. Unlike machine-printed reproductions, this hand-painted version brings the painting to life, infused with the artist’s emotions and skill in every stroke. Whether for personal collection or home decoration, it instantly elevates the artistic atmosphere of any space.
"Head study of Maria Zambaco for Nimue in ‘The Beguiling of Merlin’" is a preparatory work by the British artist Sir Edward Coley Burne-Jones, a prominent figure in the Pre-Raphaelite Brotherhood, an art movement that sought to return to the detail, intense colors, and complex compositions of Quattrocento Italian art. This study was created as part of Burne-Jones's process for his larger painting, "The Beguiling of Merlin," which was completed in 1874.
Maria Zambaco, the model for this study, was a Greek beauty and artist herself, known for her striking features and her tumultuous relationship with Burne-Jones. She was born in 1843 in London to a wealthy Greek family and became a muse for several artists of the time. Her association with Burne-Jones began in the 1860s, and she became one of his favorite models, inspiring numerous works.
"The Beguiling of Merlin" depicts a scene from Arthurian legend, where the enchantress Nimue (or Vivien) uses her charms to entrap the wizard Merlin. In the painting, Merlin is shown ensnared by Nimue's spell, a theme that resonates with the complex and often troubled relationship between Burne-Jones and Zambaco. The head study captures Zambaco's distinctive features, which Burne-Jones used to embody the character of Nimue, emphasizing her allure and enigmatic presence.
Burne-Jones's technique in this study reflects his meticulous approach to portraiture and character development. He often created numerous sketches and studies before embarking on a final piece, ensuring that each element of his composition was carefully considered. This particular study focuses on capturing the subtleties of Zambaco's expression, which would later be translated into the final painting.
The relationship between Burne-Jones and Zambaco was both passionate and fraught with difficulties. Their affair caused a scandal in Victorian society, as Burne-Jones was married to Georgiana MacDonald at the time. Despite the personal turmoil, Zambaco's influence on Burne-Jones's work was profound, and she remained a significant figure in his artistic life.
"The Beguiling of Merlin" is housed in the Lady Lever Art Gallery in Port Sunlight, England, and is considered one of Burne-Jones's masterpieces. The head study of Maria Zambaco, while a preparatory work, offers insight into the artist's creative process and the personal dynamics that influenced his art. It stands as a testament to the intricate interplay between life and art in the Pre-Raphaelite movement, highlighting the enduring impact of muses like Zambaco on the artists they inspired.
