His own ideas on painting are summed up as follows: ‘I mean by a picture a beautiful romantic dream, of something that never was, never will be—in a light better than any that ever shone—in a land no-one can define or remember, only desire—and the forms divinely beautiful.’ He had a fairly low-key career until 1877, when he became famous overnight with the showing of eight large paintings at the opening exhibition of the Grosvenor Gallery. Thereafter he acquired huge fame and prestige, not only in Britain, but also on the Continent: he had considerable influence on the French Symbolists, and the ethereally beautiful women who people his paintings, like the more sensuous types of Rossetti, had many imitators at the end of the century. Although he was lauded for his poetic qualities by many critics, some thought his pictures ‘morbid’ and ‘unmanly’. His paintings tend to be flat and frieze-like in composition, with richly textured surfaces, and his feeling for pattern was put to good use in his work as a designer: he was a founder member of William Morris's decorative arts company in 1861 and designed some outstanding stained glass and tapestries for it, as well as making illustrations for Kelmscott Press books. Burne-Jones's reputation crumbled after his death and did not seriously revive until the 1960s. The best collection of his work is in the City Art Gallery in Birmingham.