Days of Creation, The 3rd Day 1876

Curator: Edward Burne-Jones painted "Days of Creation, The 3rd Day" in 1876. It’s currently residing here at the Harvard Art Museums. Editor: My initial reaction is one of ethereal serenity. The pale colors and flowing lines give it a very dreamlike, otherworldly feel. And what incredible detail, especially on the gowns which are layered with feathers. Curator: Absolutely, Burne-Jones was heavily influenced by the Pre-Raphaelite movement, prioritizing beauty and symbolism above realism, as we can see with the incredible texture he creates with oil paints in this depiction. But this isn’t just decorative beauty; the subject matter is intensely important: a divine narrative, literally the day that land and vegetation were created in Genesis. Editor: Precisely. Note how the angels are holding the orb containing a meticulously rendered landscape. The artist's focus on representing depth through shadow and meticulous detail is outstanding. Also, observe the formal choices— the vertical composition emphasizes the celestial subject. Curator: Speaking of material reality intruding, you can see the direct influence of William Morris’s aesthetic and political ideology, since Burne-Jones collaborated frequently with the Arts and Crafts movement that revived medieval craftsmanship. This kind of aesthetic decision was a move towards challenging industrial production’s dominance in Britain’s cultural sphere. Editor: An astute observation! It allows for a richer interpretation of the symbolism inherent in the composition. By representing Creation as carefully crafted, Burne-Jones elevates both the divine act and the act of making. Curator: Right. The level of manual work becomes a virtue. Editor: The three figures together exude grace but there’s something strange about their ungrounded state that draws the eye toward this mystery; almost as if in a dream, suspended in air, watching Creation. Curator: What resonates most with me is seeing how a commitment to craft and material engagement allows for this painting to exist as a testament of devotion that pushes against industrial values and highlights creative freedom. Editor: Yes, Burne-Jones melds this freedom with formal structures that produce an everlasting composition. It is indeed, food for thought.