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@linda-howes77.bsky.social
2 months ago
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One of my favorite artists! Available here linda-howes.pixels.com/featured/the...

#wallartforsale #wallart #Gifts #giftideas #homedecor #preraphaelite #EvelynDeMorgan #art #painting #Angel #Throne #hourglass #RichColors #Royal #Sadness #WomanSeatedatThrone #vintage
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Michael
Michael
@mdstamper.bsky.social
2 months ago
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 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

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@matgeorgewhu.bsky.social
3 months ago
Evelyn De Morgan painting

Evelyn De Morgan painting

Evelyn De Morgan painting

Evelyn De Morgan painting

Evelyn De Morgan: The Modern Painter in Victorian London. Guildhall Art Gallery in the City of London until January 4. Associated with the Pre-Raphaelites, De Morgan (1855-1919) produced work reflecting spirituality & feminism & rejecting war and materialism. There are recreations by Paul Francis Walker of two works lost in a 1991 art warehouse fire. More of her & her potter husband William’s work can be seen Watts Gallery near Guildford & the De Morgan Foundation is at Cannon Hall, Barnsley

Evelyn De Morgan: The Modern Painter in Victorian London. Guildhall Art Gallery in the City of London until January 4. Associated with the Pre-Raphaelites, De Morgan (1855-1919) produced work reflecting spirituality & feminism & rejecting war and materialism. There are recreations by Paul Francis Walker of two works lost in a 1991 art warehouse fire. More of her & her potter husband William’s work can be seen Watts Gallery near Guildford & the De Morgan Foundation is at Cannon Hall, Barnsley

Evelyn De Morgan: The Modern Painter in Victorian London. Guildhall Art Gallery in the City of London until January 4. Associated with the Pre-Raphaelites, De Morgan (1855-1919) produced work reflecting spirituality & feminism & rejecting war and materialism. There are recreations by Paul Francis Walker of two works lost in a 1991 art warehouse fire. More of her & her potter husband William’s work can be seen Watts Gallery near Guildford & the De Morgan Foundation is at Cannon Hall, Barnsley

Evelyn De Morgan: The Modern Painter in Victorian London. Guildhall Art Gallery in the City of London until January 4. Associated with the Pre-Raphaelites, De Morgan (1855-1919) produced work reflecting spirituality & feminism & rejecting war and materialism. There are recreations by Paul Francis Walker of two works lost in a 1991 art warehouse fire. More of her & her potter husband William’s work can be seen Watts Gallery near Guildford & the De Morgan Foundation is at Cannon Hall, Barnsley

Evelyn De Morgan: The Modern Painter in Victorian London. Guildhall Art Gallery in the City of London until January 4. Associated with the Pre-Raphaelites, De Morgan (1855-1919) produced work reflecting spirituality and feminism, and rejecting war and materialism #EvelynDeMorgan

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Michael
Michael
@mdstamper.bsky.social
3 months ago
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.

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

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Julius Granström
Julius Granström
@juliusgranstrom.bsky.social
6 months ago
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Evelyn De Morgan #evelyndemorgan

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@linda-howes77.bsky.social
6 months ago
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I love this painting! Check out my Vintage collection linda-howes.pixels.com/featured/the...

#wallart #sorcerer #lovePotion #Spell #witch #love #blackCat #mystical #OilPainting1903 #EvelynDeMorgan

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@linda-howes77.bsky.social
6 months ago
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Click to see full view, check out my Mythology collection linda-howes.pixels.com/featured/ven...

#EvelyndeMorgan #preRaphaelite #Venus #Cupid #wings #ocean #beach #shells #Mythology #painting #ClassicPainting #wallart

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Michael
Michael
@mdstamper.bsky.social
6 months ago
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.

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

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Nathan Francis
Nathan Francis
@nathanfrancis79.bsky.social
7 months ago
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🎨 #EvelynDeMorgan, English Pre-Raphaelite painter, was #BOTD 30 August 1855. #Art #Painting

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natsky777
natsky777
@natsky777.bsky.social
7 months ago
The De Morgan Foundation, 'Ariadne at Naxos', by Evelyn De Morgan. 1877. Oil on Canvas. Photo taken by me today (28th August 2025) at the Guildhall Art Gallery where it is on view as part of a temporary exhibition.

The De Morgan Foundation, 'Ariadne at Naxos', by Evelyn De Morgan. 1877. Oil on Canvas. Photo taken by me today (28th August 2025) at the Guildhall Art Gallery where it is on view as part of a temporary exhibition.

#Art #GuildhallArtGallery #EvelynDeMorgan #TheDeMorganFoundation
'Ariadne at Naxos' -Evelyn De Morgan. 1877. The De Morgan Foundation, artwork currently on view at The Guildhall Art Gallery as part of the exhibition 'Evelyn DeMorgan:The Modern Painter in Victorian London. 📷Mine, (today).

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Michael
Michael
@mdstamper.bsky.social
7 months ago
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.

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

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Solivagant Wisdom: Slow Living for Quiet Souls
Solivagant Wisdom: Slow Living for Quiet Souls
@solivagantwisdom.bsky.social
8 months ago
“Night & Sleep”, Evelyn de Morgan, 1878

“Night & Sleep”, Evelyn de Morgan, 1878

#Holistic approach to better #sleep that reacquaints us with the #natural rhythms of #night and #day

Learn More:
solivagant-wisdom.com/sacredsleep/

#SacredNight #SacredSleep #Dreams #SlowLiving #Mindfulness #hypnotherapy #hypnocoaching #GuidedMeditation #DepthPsychology #EvelynDeMorgan #Art

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Tracy Lee
Tracy Lee
@tleec.bsky.social
11 months ago
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Death of a Butterfly (1914),
by #EvelynDeMorgan
#death #painting #art

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Art Herstory
Art Herstory
@artherstory.bsky.social
11 months ago
Preview
Evelyn De Morgan | Painting Truth and Beauty An illustrated guest post about the life and work of Evelyn De Morgan, 19th-century British artist, feminist and advocate for gender equality.

Learn more about the artist in the #ArtHerstory guest post #EvelynDeMorgan: Painting Truth and Beauty, artherstory.net/evelyn-de-mo..., by curator Sarah Hardy

#womenartists

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Art Herstory
Art Herstory
@artherstory.bsky.social
11 months ago
This ethereal painting in hues of blue and lavender depicts four female figures. According to the object page on the De Morgan Collection website, "The Daughters of the Mist are dressed in diaphanous draperies and sit amongst clouds and rainbows. The fourth Daughter is standing, about to stretch up to the star behind her and into the light surrounding her..."

This ethereal painting in hues of blue and lavender depicts four female figures. According to the object page on the De Morgan Collection website, "The Daughters of the Mist are dressed in diaphanous draperies and sit amongst clouds and rainbows. The fourth Daughter is standing, about to stretch up to the star behind her and into the light surrounding her..."

Daughters of the Mist, 1900-1919, by #EvelynDeMorgan (British, 1855-1919), who died #otd, May 2. Held by the @demorganfoundation.bsky.social, www.demorgan.org.uk/collection/d...

#womenartists #artherstory

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Prof Serena Trowbridge
Prof Serena Trowbridge
@serena-t.bsky.social
11 months ago
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Been thinking how #IthellColquhoun Dreaming Leap seems to echo #EvelynDeMorgan Storm Spirits, in colour & construction. They both attended the Slade & were esotericists so perhaps Colquhoun knew of De Morgan #preraphaelite #esotericism @preraphaelitesoc.bsky.social @demorganfoundation.bsky.social

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Prof Serena Trowbridge
Prof Serena Trowbridge
@serena-t.bsky.social
1 year ago
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My book of #ElizabethSiddall poetry won't be available after May! The same is true for the #EvelynDeMorgan poems. Find out more here tinyurl.com/hny9rrwt as there are still copies available! #preraphaelite #preraphaelitewomen #poetry @preraphaelitesoc.bsky.social @demorganfoundation.bsky.social

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My Kind of London
My Kind of London
@mykindoflondon.bsky.social
1 year ago
Video

Evelyn de Morgan: The Modern Painter in #VictorianLondon. Discover one of the most remarkable female artists of her generation, #EvelyndeMorgan, at the #GuildhallArtGallery, #CityofLondon
Pay what you can. Open today until 4 Jan ’26.
#VisitLondon #Free #London
#LondonArt #PreRaphalites #WomenArtists

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Arlequine Lunaire
Arlequine Lunaire
@arlequinelunaire.bsky.social
1 year ago
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My pen and ink study of Evelyn de Morgan's 'Angel of Death'. Probably the hardest artwork I've ever drawn #artiststudy #masterstudy #traditionalart #evelyndemorgan #angelofdeath #penandink

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Tracy Lee
Tracy Lee
@tleec.bsky.social
1 year ago
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"The Angel of Death"
by #EvelynDeMorgan, created in 1880
#death #painting #art

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Tracy Lee
Tracy Lee
@tleec.bsky.social
1 year ago
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The Love Potion, 1903
#EvelynDeMorgan
#witch #witchcraft #painting #art

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De Morgan Foundation
De Morgan Foundation
@demorganfoundation.bsky.social
1 year ago
Video

#FloraFriday. Flora, Evelyn De Morgan’s masterpiece, has returned to our partner venue, Wightwick Manor, @nationaltrust.bsky.social.

It’s now on display, with a preparatory sketch in the De Morgan Malthouse Gallery. Have you visited the Manor in Wolverhampton yet?

#preraphaelite #evelyndemorgan

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My Kind of London
My Kind of London
@mykindoflondon.bsky.social
1 year ago
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We don't get that many exhibitions on women artists, so it's so great when it happens.
‘Evelyn De Morgan: The Modern Painter in Victorian London’
will be on show at #GuildhallArtGallery from 4 April.
#WomenArtists #EvelynDeMorgan #London #Pre-Raphaelite #Free
www.thecityofldn.com/event/evelyn...

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Mythical Symplegma
Mythical Symplegma
@mythicalsymplegma.bsky.social
1 year ago
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The Love Potion
Evelyn De Morgan
1903

At the De Morgan Centre, London

#thelovepotion #evelyndemorgan #preraphaelite #art

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De Morgan Foundation
De Morgan Foundation
@demorganfoundation.bsky.social
1 year ago
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The energy we bring going out on a Friday night with our closest girl friends. #FridayNight

🖼️ ‘Storm Spirits’, Evelyn De Morgan, 1900.

#evelyndemorgan #artherstory #arthistory #preraphaelite

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@linda-howes77.bsky.social
1 year ago
Preview
The Storm Spirits, 1900 by Evelyn de Morgan - Linda Howes Website The Storm Spirits, 1900 by Evelyn de Morgan - Linda Howes Website

Check out my mythology collection linda-howes.pixels.com/featured/the...

#Mythology #StormSpirits #water #Sea #EvelynDeMorgan #Wings #Female #Angels #Preraphaelite #wallart

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Melaelettrica
Melaelettrica
@melaelettrica.bsky.social
1 year ago
Digital collage featuring a group of mermaids, a kraken sinking a ship and a flying fish in a flooded room with concentric doors and dolphin-patterned wallpaper.

Digital collage featuring a group of mermaids, a kraken sinking a ship and a flying fish in a flooded room with concentric doors and dolphin-patterned wallpaper.

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Day 18
#ArtAdventCalendar
'The Sea Inside,' digital collage. Original image by Filip Kominik (right).
Soundtrack: Echo & the Bunnymen - Seven Seas

Paris Collage Collective challenge.
@bsky.art
#collage #art #thesea #mermaidart #evelyndemorgan #krakenart #seacollage #surrealcollage #digitalcollage

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Clavis & Claustra
Clavis & Claustra
@clavisandclaustra.bsky.social
1 year ago
Evelyn de Morgan painting detail of a woman wearing a golden gown pouring a potion into a goblet

Evelyn de Morgan painting detail of a woman wearing a golden gown pouring a potion into a goblet

Evelyn de Morgan painting detail of an old man counting his gold while the Angel of death hovers above him

Evelyn de Morgan painting detail of an old man counting his gold while the Angel of death hovers above him

Evelyn de Morgan painting detail of a woman strewn with ropes sitting in the crescent of the moon

Evelyn de Morgan painting detail of a woman strewn with ropes sitting in the crescent of the moon

Pre-Raphaelite banquet of colour 🎨

The exhibition of Evelyn de Morgan’s paintings at Wolverhampton Art Gallery was absolutely mesmerising. 😍

First exhibition of its kind since 1907! 😲

@wolvesartandculture #EvelynDeMorgan #PreRaphaelite #FemaleArtist #ArtsAndCrafts #Wolverhampton #ArtHerstory

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Art Herstory
Art Herstory
@artherstory.bsky.social
1 year ago
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Wow, Today Is Art Day has issued a fabulous set of 8 new magnetic bookmarks featuring #womenartists! For full details, visit www.todayisartday.com/collections/...

#SuzanneValadon #ElisabethVigeeLeBrun #TamaradeLempicka #MaryCassatt #EvelynDeMorgan #BertheMorisot #FridaKahlo #HilmaAfKlint

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Art Herstory
Art Herstory
@artherstory.bsky.social
1 year ago
Preview
Lux in Tenebris

Lux in Tenebris, 1895, by #EvelynDeMorgan (English, 1855-1919), who died #otd, May 2. Held by the De Morgan Collection, www.demorgan.org.uk/collection/l...

Learn about the artist in the #ArtHerstory guest post #EvelynDeMorgan: Painting Truth & Beauty, artherstory.net/evelyn-de-mo..., by Sarah Hardy

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