Charles Fairfax Murray. Charles Fairfax Murray, was an English painter, dealer, collector, benefactor and art historian who was connected with the second wave of the Pre-Raphaelites.
The youngest of four children, he was born in Bow, near London, but grew up in Sudbury, Suffolk., where he studied drawing, possibly under Thomas Gainsborough's great nephew Gainsborough Dupont. At the age of 12 he was employed in the drawing office of the railway entrepreneurs Peto & Betts and was taken into Sir Samuel Morton Peto's home to draw portraits of his family.
Taken up by John Ruskin at the age of 16, Fairfax Murray was installed as Edward Burne-Jones's first studio assistant in 1867. He rapidly became one of the circle of Pre-Raphaelite founder Dante Gabriel Rossetti, and the friend of William Morris and Philip Webb.
He was given work as artist and glass-painter for Morris, Marshall, Faulkner and Co., working to Burne Jones's designs; he also illuminated Morris's manuscripts. In 1872, he left England for Italy, where he worked as a copyist for Ruskin in Rome, Siena, Pisa and Venice, allowing him to advance his study of the Italian masters.
Having married the 16-year-old Angelica Collivichi and settled in Florence, he depended on this work to support his young family. He contributed to Giovanni Cavalcaselle/s History of North Italian Painting. From Siena he maintained a lively correspondence with Morris, Webb a
The youngest of four children, he was born in Bow, near London, but grew up in Sudbury, Suffolk., where he studied drawing, possibly under Thomas Gainsborough's great nephew Gainsborough Dupont. At the age of 12 he was employed in the drawing office of the railway entrepreneurs Peto & Betts and was taken into Sir Samuel Morton Peto's home to draw portraits of his family.
Taken up by John Ruskin at the age of 16, Fairfax Murray was installed as Edward Burne-Jones's first studio assistant in 1867. He rapidly became one of the circle of Pre-Raphaelite founder Dante Gabriel Rossetti, and the friend of William Morris and Philip Webb.
He was given work as artist and glass-painter for Morris, Marshall, Faulkner and Co., working to Burne Jones's designs; he also illuminated Morris's manuscripts. In 1872, he left England for Italy, where he worked as a copyist for Ruskin in Rome, Siena, Pisa and Venice, allowing him to advance his study of the Italian masters.
Having married the 16-year-old Angelica Collivichi and settled in Florence, he depended on this work to support his young family. He contributed to Giovanni Cavalcaselle/s History of North Italian Painting. From Siena he maintained a lively correspondence with Morris, Webb a
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