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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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Visited #WightwickManor @nationaltrust.org.uk today I love the chimney stacks 🙂

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Lots of timber on the exterior, and decorative bargeboards, mullioned windows and barley-sugar chimney pots--vernacular revival with a vengeance!

Lots of timber on the exterior, and decorative bargeboards, mullioned windows and barley-sugar chimney pots--vernacular revival with a vengeance!

Wooden flooors, Morris wall coverings, and the Morris tapestry "The Forest" along one wall, with a few people admiring the furniture and decor.

Wooden flooors, Morris wall coverings, and the Morris tapestry "The Forest" along one wall, with a few people admiring the furniture and decor.

Glimpses of #WightwickManor (National Trust) in the Midlands, designed by Edward Ould (1852-1909). Lots of lovely artwork here, in the architecture itself and on show inside: can you spot the #Morris tapestry in the parlour here? victorianweb.org/art/architec...
(Photos by @oldpanks.bsky.social)

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Thrilled to finally visit Wightwick Manor, an arts and crafts masterpiece

Of course I had almost no battery on my phone so have four pics to show for the day, but not to worry. I’ll just have to go back.

#wightwickmanor #nationaltrust #artsandcraft #williammorris #interiors #interiordesign

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Spring has sprung! #WightwickManor #Wolverhampton

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Reasons to be cheerful. Spring is on its way! #WightwickManor #Wolverhampton

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Great day out at 2
#WightwickManor since it's been decorated for Christmas. #NationalTrust

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The very beautiful Wightwick Manor (at Christmas). A MUST visit for lovers of Arts & Crafts and all things Victorian. #wightwickmanor #nationaltrust #christmas #heritage #manorhouse #artsandcrafts #demorgan #preraphaelite

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