Evelyn De Morgan
Template:Short description Template:Use British English Template:Use dmy dates Template:Infobox artist Evelyn De Morgan (30 August 1855 – 2 May 1919) was an English painter associated early in her career with the later phase of the Pre-Raphaelite Movement, and working in a range of styles including Aestheticism and Symbolism.<ref name="Gear">Template:Cite ODNB</ref> Her paintings are figural, foregrounding the female body through the use of spiritual, mythological, and allegorical themes. They rely on a range of metaphors (such as light and darkness, transformation, and bondage) to express what several scholars have identified as spiritualist and feminist content.<ref name="Smith">Template:Cite book</ref><ref name="Gordon1996">Template:Cite book</ref><ref name="Rose">Template:Cite book</ref><ref name=":0">Template:Cite journal</ref> Her later works also dealt with the themes of war from a pacifist perspective, engaging with conflicts such as the Second Boer War and World War I.<ref name="Smith" />
Early lifeEdit
She was born Mary Evelyn Pickering<ref name="Gear" /> at 6 Grosvenor Street<ref name="Gordon1996"/> in London, England, to Percival Pickering QC, the Recorder of Pontefract, and Anna Maria Wilhelmina Spencer Stanhope, daughter of John Spencer Stanhope and grand daughter of Thomas Coke, 1st Earl of Leicester.<ref name="Smith" /> She was the eldest of four children, followed by chemist Percival Spencer Umfreville Pickering (1858–1920),<ref>Template:Cite journal</ref> Rowland Neville Umfreville (1861–1931) and Whilemina who became a writer.<ref name="Gear" /> Her maternal uncle was the artist John Roddam Spencer Stanhope.<ref name="Gear" /> She was christened at her maternal family's church in Cawthorne, South Yorkshire.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
De Morgan was educated at home; according to her sister and biographer, Anna Wilhelmina Stirling, their mother insisted that "from the first Evelyn [was to] profi[t] from the same instruction as her brother."<ref name="Stirling">Template:Cite book</ref> She studied Greek, Latin, French, German, and Italian, as well as classical literature and mythology, and was also exposed at a young age to history books and scientific texts.<ref name="Stirling"/>
Personal lifeEdit
In August 1883, Evelyn met the ceramicist William De Morgan (the son of the mathematician Augustus De Morgan), and on 5 March 1887, they married.<ref name="Gordon1996" /> They spent their lives together in London, visiting Florence for half the year every year from 1895 until the outbreak of WWI in 1914.<ref name="Smith" /> Evelyn De Morgan supported the suffrage movement, and she appears as a signatory on the Declaration in Favour of Women's Suffrage of 1889.<ref name="Rose" /> She was also a pacifist and expressed her horror about the First World War and Boer War in over fifteen war paintings including The Red Cross and S.O.S.<ref name="Gear" /> In 1916, she held a benefit exhibition of these works at her studio in Edith Grove in support of the Red Cross and Italian Croce Rossa.<ref name="Smith"/>
For the first half of their marriage, De Morgan used the profits from sales of her work to help financially support her husband's pottery business; she also actively contributed ideas to his ceramics designs.<ref name="Gear" /> The De Morgans finally achieved financial security in 1906 after the publication of William's first novel, Joseph Vance.<ref name="Smith"/>
De Morgan and her husband were both spiritualists, and De Morgan’s sister and biographer A. M. W. Stirling credits them as the anonymous authors of a 1909 publication of automatic writings — communications with spirit beings — titled The Result of an Experiment.<ref name="Battersea">Template:Cite book</ref> The introduction to this book describes the couple as practicing automatic writing together every night for many years of their marriage.<ref name="Result">Template:Cite book</ref> Since precious little primary material in Evelyn De Morgan’s own hand has survived,<ref name="reading lists">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> this text provides important information about her faith and her approach to a range of issues—from her understanding of ultimate reality to her belief about the role of art in capturing spirit. From the moment that de Morgan encountered spiritualism, her perspective seemed to change, and her works started to reflect more ideas about darkness and death.<ref name=":0" /><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> De Morgan used a range of motifs to represent spiritual ideas. A few examples are Renaissance angels, heavenly auras, a distinctive contrast between light and dark, and the symbolic use of colours. De Morgan used complex allegories to depict her social commentary and spiritual beliefs. The iconography in these works reflect several spiritual themes such as the progress of the spirit, the materialism of life on earth, and the imprisonment of the soul in the earthly body.<ref name="Smith" />
Evelyn De Morgan died on 2 May 1919 in London, two years after the death of her husband and was buried in Brookwood Cemetery near Woking, Surrey.<ref name="Smith" /> The De Morgans’ headstone was designed by Evelyn and carved by Sir George Frampton.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The headstone depicts "an angel with outstretched arms, pleading with a female figure of Death, with inverted torch, who turns her back".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Their tombstone bears an inscription from The Result of an Experiment: “Sorrow is only of the flesh / The life of the spirit is joy”.
CareerEdit
De Morgan started drawing lessons when she was 15, and from the outset was dedicated to her craft. On the morning of her seventeenth birthday, she wrote in her diary: "Art is eternal, but life is short…" — "I will make up for it now, I have not a moment to lose."<ref name="Gordon1996" /> This diary, given up after a few months, reveals her devotion to her work. She records hours upon hours of "steady work," chastising herself for "wast[ing] time" through daily tasks like going to tea and changing her dress.<ref name="Stirling"/> According to Stirling, De Morgan was interested in little other than painting and fought hard to be considered seriously as an artist. She rebelled against any efforts to turn her into an "idle" woman, and when her mother suggested she be presented to society, De Morgan rejoined: "I'll go to the Drawing Room if you like...but if I go, I'll kick the Queen!"<ref name="Stirling"/> Stirling recounts another incident in which De Morgan rejected further attempts to introduce her to society: "It was...suggested to Evelyn that she might like to go into Society and see a little of the world, but she jumped to a conclusion respecting this process which was clearly unjustifiable in her case. 'No one shall drag me out with a halter round my neck to sell me!' was her uncompromising rejoinder."<ref name="Stirling"/>
In 1872, she was enrolled at the South Kensington National Art Training School (today the Royal College of Art) and in 1873 moved to the Slade School of Art.<ref name="Smith"/> At Slade, she was awarded the prestigious Slade Scholarship and won several awards: the Prize and Silver Medal for Painting from the Antique; First Certificate for Drawing from the Antique; and Third Equal Certificate for Composition.<ref name="Smith"/> She eventually left Slade to work more independently.<ref name="Stirling"/>
De Morgan was known to George Frederic Watts from infancy, and while developing as an artist she would often visit him at his studio-home, Little Holland House.<ref name="Stirling"/><ref name="Rose"/> She also studied under Watts's student, her uncle John Roddam Spencer Stanhope, who had a great influence on her visual style. Beginning in 1875, Evelyn often visited him in Florence where he lived. This enabled her to study the great artists of the Renaissance; the influence of Quattrocento artists like Botticelli is especially visible in her works from this point onwards.<ref name="Smith"/> After this period, De Morgan's art began to move away from the more traditional, classical subjects and style favoured by the Slade School towards a development of her own particular, mature style.<ref name="Smith"/><ref name="Gordon1996" /> Through Stanhope, De Morgan also developed friendships with Pre-Raphaelite painters Dante Gabriel Rossetti and William Holman Hunt.<ref name="Drawmer">Template:Cite thesis</ref> She was also friendly with other key figures in the Victorian literary and artistic world, like writer Vernon Lee.<ref name="Drawmer"/>
The vast majority of De Morgan’s works, particularly from the mid-1880s onwards, depict content or themes that can be described as broadly spiritualist.<ref name="Smith" /> These themes arguably reach their peak in her later works like Daughters of the Mist (c. 1905–10), which use a Symbolist allegorical register to suggest their profoundly mystical content by suggestion rather than explicit declaration.
ExhibitionsEdit
In August 1875, De Morgan sold her first work Tobias and the Angel.
De Morgan first exhibited in 1876 at the Dudley Gallery, showing St Catherine of Alexandria, and then a year later at the inaugural Grosvenor Gallery exhibition in London.<ref name="Gordon1996" />
She exhibited regularly until 1907, including a one-woman show at Wolverhampton Municipal Art Gallery and Museum in which 25 works were shown, including 14 for sale.<ref name="Smith |page=29" /> After 1907, she stopped exhibiting regularly. E.L. Smith theorises that this was due to the financial security that came from the success of her husband's first novel, meaning she was no longer obligated to sell her paintings.<ref name="Smith" />
LegacyEdit
In October 1991, sixteen of De Morgan's canvases belonging to the De Morgan Centre were destroyed in a fire at Bourlet's warehouse.<ref name="Gear" /><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
A retrospective Evelyn De Morgan: The Modern Painter in Victorian London runs from April 2025 – 4 January 2026 at the Guildhall Art Gallery in London.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
CollectionsEdit
Her works are held in the De Morgan Collection, the De Morgan Museum at Cannon Hall, Barnsley, the Walker Art Gallery in Liverpool, the National Trust properties of Wightwick Manor and Knightshayes Court, the Russell-Cotes Art Gallery and Museum, the National Portrait Gallery and the Southwark Art Collection.
WorksEdit
GalleryEdit
- Evelyn de Morgan - The Crown of Glory, 1896.jpg
The Crown of Glory
- Helen of Troy.jpg
Helen of Troy, 1898
- Cassandra1.jpeg
- Eos.jpg
Eos, 1895
- Evelyn de Morgan - Hero Holding the Beacon for Leander, 1885.jpg
Hero Holding the Beacon for Leander
- Clytie, by Evelyn Pickering de Morgan.jpg
- Hope in a Prison of Despair.jpg
Hope in a Prison of Despair, 1887
- The worship of Mammon.jpg
Painting The Worship of Mammon, 1909
- De Morgan - Guilded Cage.jpg
The Gilded Cage, 1901-1902 or 1908
- Dryad11.jpg
Dryad, 1884-1885
- The Red Cross.jpg
The Red Cross, 1918
ReferencesEdit
Further readingEdit
External linksEdit
- Template:Official website
- "Evelyn De Morgan" at The Bridgeman Art Library
- Evelyn De Morgan Artwork
- Grave of Evelyn and William De Morgan
- Template:NPG name
- Template:Art UK bio
- Endless Digressions on Evelyn De Morgan by Kirsty Walker, Victorian Historian
Template:Evelyn De Morgan Template:Pre-Raphaelite Brotherhood