France was not the only European country in which Burne- Jones was acclaimed. His reputation also stood high in Belgium, where his staunchest advocate was the artist Fernand Khnopff (1858 -19 21; fig. 95). An Anglophile who exhibited regularly in London and acted as the Studios Brussels correspondent, Khnopff came to know Burne-Jones quite well. They exchanged drawings, 47 and when Burne-Jones died, Khnopff wrote his obituary notice for the Magazine of Art. Another Belgian admirer was the painter Jean Delville (18 67-19 21), who was to teach art at Glasgow in the 1900s. In 1888 Burne- Jones was invited to exhibit with Les XX, the avant-garde art group in Brussels, and although he refused, pleading pressure of work, photographs of paintings by himself and Rossetti were shown in the Belgian capital at the Galerie Dumont two years later. In fact, by the 1890s knowledge of Burne-Jones was a pan-European phenomenon. In Germany the Saint George series (cat. nos. 31, 33, 34) was awarded a gold medal at the Munich International Exhibition of 1897. The Grand Duke of Hesse made a painting of the same saint the centerpiece of his Art Nouveau room at Darmstadt (cat. no. 86), and a mono- graph on the artist by Otto von Schleinitz appeared in the Kiinstler-Monographien series in 1901. In Barcelona repro- ductions of Burne-Jones's work attracted the attention of the young Picasso. He later claimed that he was on his way to London to see the paintings themselves when he found him- self detained in Paris, but this may be taken with a pinch of salt. 48 Even in Russia Burne-Jones was not unknown. A painting of Saint George for an unnamed Russian patron appears in his work record for 1897.