Danaë Watching the Building of the Brazen Tower 1872

Curator: Edward Burne-Jones offers us "Danaë Watching the Building of the Brazen Tower," an oil on canvas completed in 1872. It's currently held at the Harvard Art Museums. Editor: My initial reaction is one of subdued anticipation. The painting’s composition is divided, yet harmonious, guiding the eye through its intricate details with measured grace. Curator: Indeed, Burne-Jones' construction is deliberate. Consider the palette: earthy browns, subdued reds, and muted greens, all contribute to a somber atmosphere, amplifying the narrative’s gravity. Editor: The subdued colors evoke the weight of Danaë's fate—imprisonment for defying prophecy. It speaks volumes about predestination and confinement, both physical and emotional, themes potent in classical mythology. Notice how the brazen tower looms, a physical manifestation of that very fate. Curator: Precisely. The verticality of the tower juxtaposes with Danaë’s downcast posture. We can further dissect her red robes—a concentrated, dominant hue amongst the scene’s austerity that immediately grabs one’s attention, while subtly hinting at themes of love, sacrifice, and impending doom. Editor: The artist includes other evocative visual anchors as well. The fountain in the courtyard and the white dove overhead—one could interpret the former as a symbol of potential freedom and the latter, as a messenger of the gods or destiny itself. Curator: Certainly, but beyond those symbols, attend to the careful arrangement of forms and lines! The architectural structures define a distinct foreground, middle ground, and background, creating an illusion of depth within this complex visual field. The stark geometric shapes and planes reflect an adherence to the tenets of Pre-Raphaelite formalism. Editor: I concede the artist demonstrates superb control. However, the emotional narrative trumps all else for me. The artist uses allegory so poignantly here. "Danaë Watching the Building of the Brazen Tower," encapsulates not only the story but, perhaps, the psychological weight of accepting what one cannot change. Curator: Your focus on the mythological elements and the personal experience certainly underscores Burne-Jones’ intention, but my own analytical take, informed by pure visual scrutiny, suggests how a potent allegory is delivered via composition, color, and carefully delineated form. Editor: Fair point, and an interesting contrast. Both are clearly at play, adding layers to the work.