#cuadrodeldía Ariadna en Naxos, 1877 (Evelyn de Morgan 1855-1919) Colección #DeMorgan Barnsley #art De Morgan es junto a Spartali la artista más famosa de la Hermandad Prerrafaelita. Aquí pinta a Ariadna (hija del rey Minos) recién abandonada por su amante Teseo #FelizJueves
Flora is the Roman goddess of flowers and spring, and English artist Evelyn De Morgan paints her (model Jane Hales) as a self-possessed emblem of renewal. Made entirely in Florence, Italy in 1894, the picture knowingly echoes Florentine painter Sandro Botticelli's Primavera in its abundance of flowers and idealized drapery, but the direct gaze keeps the goddess firmly in charge of the encounter. A young woman stands front-facing in a bright spring landscape. She has light skin and softly modeled features, with long orangish hair falling in loose waves. Her expression is calm, meeting our gaze without theatrical gesture. She wears a yellowish, flowing robe patterned with small Florentine flowers and pansy blossoms. Gathered at the waist is a vivid red scarf that drifts diagonally like a ribbon caught in a gentle breeze. Blossoms sprinkle the ground at her feet, so the painting seems to shed petals into our space. Behind her rises a loquat (nespola) tree, its glossy leaves framing her figure while a chaffinch bird and a siskin bird perch and flit within the branches. At the lower right, a scroll bears an Italian poem that names her as Flora and links her to Florence. The palette balances creamy whites and warm reds against many greens, creating a sense of cool air and new growth. Leaves, fruit, and birds are rendered as specific presences rather than generic ornament. De Morgan Foundation director Sarah Hardy notes the painting’s extreme care: “every blade of grass and strand of hair has been considered.” The Italian scroll celebrates Florence and then turns toward “Scotia,” pointing to the work’s Scottish patron, ship-owner William Imrie, who bought the painting and commissioned related works using the beautiful Hales. He also commissioned Cassandra and Helen of Troy, extending this mythic, woman-centered cycle. In that shift from Italy to the “northern mists,” spring becomes more than a season. It becomes a story about art, place, and starting again.
"Flora" by Evelyn De Morgan (English) - Oil on canvas / 1894 - Wightwick Manor (Wolverhampton, England) #WomenInArt #WomensArt #WomanArtist #WomenArtists #EvelynDeMorgan #DeMorgan #WightwickManor #Symbolism #Myth #Spring #art #artText #BlueskyArt #PreRaphaelite #Pre-Raphaelite #WomenPaintingWomen
Evelyn De Morgan
English | 1855-1919
Night and Sleep | 1878
#art #kunst #culture #kultur #demorgan #kunstgeschichte #arthistory
British artist Evelyn De Morgan paints Medea not as spectacle but as suspended decision. A young adult woman with fair skin and auburn, pearl-threaded hair steps toward us through a marble palace. She is barefoot on a dark blue-and-cream tiled floor. Her long rose-mauve gown pools and folds in heavy, silky pleats. A pale silver lining flashes where the sleeves and hem turn back. Her head tilts slightly, eyes lowered and distant, as if listening inward rather than meeting our gaze. In her right hand (our left), she carries a translucent violet glass flask, the liquid inside a dark red. Around her, an arched corridor recedes in cool green and lapis ornament while carved friezes and shadowed statues line the walls. White doves perch and scatter with one on a ledge and several on the floor for bright notes of life. The vial marks the moment after Jason abandons her as vengeance is reduced to something that fits her hand, while her unarmored body carries moral weight. The palace is gorgeous yet confining as vaults press down, corridors narrow, and the chessboard floor turns her path into calculation. The doves sharpen the tension like emblems of peace or fidelity, they move freely where she cannot, while she pauses between thought and irreversible act. Painted in 1889, "Medea" belongs to De Morgan’s gallery of mythic women used to question power, betrayal, and the cost of being labeled monstrous. She had married William De Morgan in 1887 and moved in circles that linked art to social conscience, so interior feeling becomes argument. Medea’s downturned gaze can be interpreted as grief, rage, or exhaustion. The painting refuses to decide which emotion “counts.” It asks what abandonment does to a person when every door is decorative and every choice is judged. De Morgan once wrote, “Art is eternal, but life is short.” It is a credo that fits this scene because the myth is ancient, but the portrait of precarious agency still feels current.
"Medea" by Evelyn De Morgan (British) - Oil on canvas / 1889 - Williamson Art Gallery and Museum (Birkenhead, England) #WomenInArt #EvelynDeMorgan #DeMorgan #WilliamsonArtGallery #GreekMythology #Medea #WomensArt #WomanArtist #WomenArtists #art #artText #BlueskyArt #PreRaphaelite #WomenPaintingWomen
Moorcroft Pottery PLQ6 De Morgan Forget-me-Not Plaque Kerry Goodwin
Moorcroft Pottery PLQ6 De Morgan Forget-me-Not Plaque Kerry Goodwin
#Moorcroft #Pottery #DeMorgan #Forget-me-Not #Plaque #Art #StratforduponAvon
www.bwthornton.co.uk/Moorcroft-La...
Moorcroft Pottery PLQ6 De Morgan Carnation Plaque Kerry Goodwin
Moorcroft Pottery PLQ6 De Morgan Carnation Plaque Kerry Goodwin
#Moorcroft #Pottery #DeMorgan #Carnation #Plaque #Art #StratforduponAvon
www.bwthornton.co.uk/Moorcroft-La...
A poster for the 1927 silent movie adaptation of 'Somehow Good' with three images depicting scenes from the film showing romance, intrigue, and danger. The title is in the top right corner with a short caption for each image included.
I've taken on a side quest if anyone can help? I'm looking for as much information on, or a copy of, an adaptation of Somehow Good (De Morgan, 1908) that was recorded as a silent movie in 1927. Any help would be very much appreciated! #SomehowGood #SilentMovie #PhDSky #DeMorgan
If you like #WilliamMorris and #DeMorgan designs a visit to Wightwick Manor @nationaltrust.org.uk is a must 😍 #treasures #colour #ArtsAndCraft
Moorcroft Pottery PLQ6 De Morgan Forget-me-Not Plaque Kerry Goodwin
Moorcroft Pottery PLQ6 De Morgan Forget-me-Not Plaque Kerry Goodwin
#Moorcroft #Pottery #DeMorgan #Forget-me-Not #Plaque #Art #StratfordonAvon
www.bwthornton.co.uk/Moorcroft-La...
Moorcroft Pottery PLQ6 De Morgan Carnation Plaque Kerry Goodwin
Moorcroft Pottery PLQ6 De Morgan Carnation Plaque Kerry Goodwin
#Moorcroft #Pottery #DeMorgan #Carnation #Plaque #Art #StratforduponAvon
www.bwthornton.co.uk/Moorcroft-La...
In S.O.S., painted during the First World War, British artist Evelyn De Morgan confronts the moral crisis provoked by conflict including its horror, futility, and the clash between good and evil. Responding to suffering that seemed almost beyond representation, she turns to symbols. The title itself takes its name from the then‐relatively new Morse code distress call for help: “Save Our Souls.” This cry, meant to summon help across physical distance, in De Morgan’s painting evokes a plea for spiritual deliverance as well. At the center stands a lone pale female figure, robed in white, symbolic of the innocence of war’s victims. She stands upon a solitary rock, arms outstretched, eyes raised toward heaven seeking both physical and spiritual deliverance from her plight as she is besieged by thundering waves and a myriad of sea serpents.” Surrounding her are storm‐tossed seas filled with dragons and monstrous sea serpents which are part of De Morgan’s recurring symbolist lexicon, embodiments of evil, chaos, death. Yet, even in this tempest, a rainbow arcs overhead like an icon of promise, peace, and the afterlife. De Morgan was deeply influenced by her spiritualist beliefs: the idea that human beings are more than their material existence, and that suffering has cosmic or moral significance. In “S.O.S.”, she does not merely depict war’s aftermath, but stages a moral vision: evil assails the innocent; yet faith, hope, and the spirit may yet triumph. Her own words, inscribed on the joint tombstone she shares with her husband, novelist and artist William De Morgan, reaffirm this: “Sorrow is only of the Earth, the life of the spirit is joy.” “S.O.S.” powerfully rejects the glorification of war, to instead be a symbolic, spiritualized piece of art that demands reflection. It is both elegy and prayer, warning and promise.
“S.O.S.” by Evelyn De Morgan (British) - Oil on canvas / 1914–1916 - De Morgan Foundation (South Yorkshire, England) #WomenInArt #EvelynDeMorgan #WomanArtist #artText #DeMorgan #art #WomensArt #SOS #WomenArtists #1910s #symbolism #BritishArt #BlueskyArt #BritishArtist #OilPainting #WomenArtists
Painting 'Cassandra' created by Evelyn De Morgan.
Evelyn De Morgan focuses on the female form, seeming to focus on feminist issues, such as seen in 'Gilded cage'. She also expresses spiritualist subject as well as pacifist views regarding war.
#art #artist #Evelyn #DeMorgan #Cassandra
Helen of troy paintedby Evelyn De Morgan.
Evelyn De Morgan's pieces show her 'metaphors' of light, dark, bondage and transformation, such as with her 'Clytie' piece or 'Gilded cage' piece.
#art #artist #Evelyn #DeMorgan
The painter Evelyn De Morgan.
This is Evelyn De Morgan, born in 1854 and passed 1919. She was influenced by the pre-raphaelite movement as well as aestheticism and symbolism in her paintings.
#art #painter #Evelyn #DeMorgan
Hope in a prison of despair. Oil painting by Evelyn De Morgan.
'Hope in a prison of despair,' 1887, Evelyn De Morgan. What I love about art, is it speaks to each of us differently.
#art #oil #hope #despair #Evelyn #DeMorgan
Oil painting of Clytie, by Evelyn De Morgan.
'Clytie,' Evelyn De Morgan.
#art #oil #clytie #feminism #Evelyn #DeMorgan
Painting by Beverly De Morgan titled the gilded cage. Symbolises freedom
'The gilded cage,' between 1901-1902, created by Evelyn De Morgan. This painting shows a woman watching people dancing outside, while a bird flys overhead. There is an older man sitting next to the standing woman. A forgotten book and broke jewelry on the floor.
#art #oil #freedom #cage
#DeMorgan
Crown of glory painted by Evelyn De Morgan aroun 1886. Believed to represent giving up wealth and material and grow spiritually.
'Crown of glory,' 1886 created by Evelyn De Morgan. A beautiful piece that is thought to represent giving up wealth and material things while gaining spiritual growth.
#art #oil #wealth #Evelyn #DeMorgan
Painting of death comforting a woman who looks pale and tired. Death doesn't seem to be the end, there are blooming flowers at the base.
This is 'The angel of death', created by Evelyn De Morgan and nased on her spiritualist views, she shows death as welcoming and comforting. This is a beautiful piece and I have enjoyed looking at the possible symbolism in the painting.
#art #Evelyn #DeMorgan #death #comfort #symbolism
English painter Evelyn De Morgan (Mary Evelyn Pickering) features legendary Pre-Raphaelite muse Jane Morris (Jane Burden) who came out of "retirement" to pose for De Morgan including this thematic painting of a regal woman sitting pensively on an ornate throne, touching an hourglass, while an angelic figure plays a flute in a doorway, hinting at the passage of time and the fleeting nature of life. In 1924, De Morgan's sister British writer Anna Marie Diana Wilhelmina Stirling (aka Wilhelmina Stirling and the alias Percival Pickering), wrote that De Morgan identified the painting as "an echo of a movement in the Waldstein Sonata (Piano Sonata No. 21) of Beethoven." This is her description: "In an ancient chair, inlaid with ivory, a woman is seen seated. Behind her on the wall are glowing tapestries; a gold lamp of medieval design is suspended above her head. Her draperies, in wonderful hues of yellow and russet bronze, are thickly sewn with pearls, the delineation of which in correct perspective constituted a tour de force. Jewels of barbaric design accentuate the richness of her attire and gleam again from her quaint head-dress, beneath which shows the first indication of age -- her whitening locks. Meanwhile, with a brooding sorrow, her gaze is fixed upon an hourglass, clasped in her slender fingers, wherein the sands are swiftly running out: at her feet is a dying rose, and close to her lies a book on which are visible the words -- Mos Janua Vitae -- Death is the portal of life. So, too, unheeded by her, outside the open doorway stands the figure of life, the Immortal, piping joyously in the sunlight in robes of azure amid the blossoming flowers of spring." Jane Morris was an accomplished English embroiderer in the Arts and Crafts movement, but is fondly remembered as the model who embodied the Pre-Raphaelite ideal of beauty as the muse for 20 Dante Gabriel Rossetti paintings. She was also the model for De Morgan's popular 1903 "The Love Potion" painting.
"The Hourglass" by Evelyn De Morgan (English) - Oil on canvas / 1904-1905 - De Morgan Foundation (Barnsley, England) #WomenInArt #WomanArtist #art #WomensArt #artText #FemaleArtist #WomenPaintingWomen #EnglishArtist #WomenArtists #EvelynDeMorgan #DeMorgan #DeMorganCollection #EnglishArt #JaneMorris
Phosphorus and Hesperus, by Evelyn De Morgan. Viewed at Clark Art Institute, 2025
#phosphorus
#demorgan
#williamstown
#theclark
#williams
Evelyn De Morgan
English | 1855-1919
Angel of Death
1881
#art #kunst #culture #kultur #arthistory #demorgan
Moorcroft Pottery PLQ6 De Morgan Carnation Plaque Kerry Goodwin
Moorcroft Pottery PLQ6 De Morgan Carnation Plaque Kerry Goodwin
#Moorcroft #Pottery #DeMorgan #Carnation #Plaque #Art #StratfordonAvon
www.bwthornton.co.uk/Moorcroft-La...
Moorcroft Pottery De Morgan Cornflower Mirror Nicola Slaney
Moorcroft Pottery De Morgan Cornflower Mirror Nicola Slaney
#MoorcroftPottery #DeMorgan #Cornflower #Mirror #Art #StratfordonAvon
www.bwthornton.co.uk/Moorcroft-La...
Moorcroft Pottery PLQ6 De Morgan Forget-me-Not Plaque Kerry Goodwin
Moorcroft Pottery PLQ6 De Morgan Forget-me-Not Plaque Kerry Goodwin
#Moorcroft #Pottery #DeMorgan #Forget-me-Not #Plaque #StratforduponAvon #Art
www.bwthornton.co.uk/Moorcroft-La...
Tiles on Tuesday
Did you know Charles Dodgson (aka Lewis Caroll) had William De Morgan tiles in his rooms at Oxford?
(Yes, there's a Dodo)
#DeMorgan #FantasticBeasts
Dragon and Snake Plate, William De Morgan Red and gold lustre plate with a winged dragon fighting a snake.
As we leave the year of the dragon and enter the year of the snake for the Luna New Year, this felt appropriate.
Dragon and Snake Plate, William De Morgan
Red and gold lustre plate with a winged dragon fighting a snake.
#FantasticBeasts #Arts&Crafts #LusciousLustreware #DeMorgan
William De Morgan, Galleon Tile Panel (1895) 40 x 6″ square tiles with a scene of sailing ships, birds and sea creatures. Fulham Period. Possibly designed as part of William De Morgan's commissions for P&O, maybe for the s.s.Malta.
Tiles on Tuesday
William De Morgan, Galleon Tile Panel (1895)
40 x 6″ square tiles with a scene of sailing ships, birds and sea creatures. Fulham Period.
Possibly designed as part of William De Morgan's commissions for P&O, maybe for the s.s.Malta.
#DeMorgan #Galleons #CeramicTiles
Moorcroft Pottery PLQ6 De Morgan Carnation Plaque Kerry Goodwin
Moorcroft Pottery PLQ6 De Morgan Carnation Plaque Kerry Goodwin
#MoorcroftPottery #DeMorgan #Carnation #Plaque #stratfordonavon
www.bwthornton.co.uk/Moorcroft-La...
