King David the Poet 1863

Editor: This is Edward Burne-Jones' "King David the Poet," crafted in 1863 and held here at the Met. The artwork is stained glass...almost looks like a page out of illuminated manuscript, right? So regal and kind of wistful, perhaps? What strikes you about this work? Curator: "Wistful" is a lovely way to describe it. For me, it evokes a sense of distant longing. See how David's gaze isn't meeting ours? He's looking inward, towards something we can't see but perhaps can *feel* in his music. It’s more than just decorative art. Do you see echoes of the Pre-Raphaelites, a medieval sensibility perhaps, in the geometric shapes and details? It also recalls church windows from centuries past. Editor: Yes! I see what you mean by Pre-Raphaelite in its dreaminess. The colors seem muted almost, and how all the details are neatly organized within each pane. The background flowers have some clear influence from geometric shapes as well! Curator: The compartmentalization, in a way, is really central to it. In breaking it down this way, he allows the eye to dance through a tapestry, pulling together fragments of what makes the whole. Notice how each pane contains something to be enjoyed, studied? Also consider the cultural context. Burne-Jones, a key figure in the Arts and Crafts movement, was all about reclaiming traditional skills like glass staining, pushing back against industrialization. The individual pieces have an identity but collectively they represent David as Poet. Editor: That’s such a fascinating way to interpret this stained-glass painting! Thanks! Now when I see the painting, it really evokes medieval windows and manuscript. It really gives another view to the tradition. Curator: Absolutely! It all sings to you now, doesn't it? A reminder that every brushstroke, or in this case, every pane of glass, tells a story, even centuries later.