Evelyn De Morgan (1855-1919) was an English put up Pre-Raphaelite painter, whose artwork mirrored her beliefs in spirituality, mythology, feminism, pacifism, and different areas. The spouse of potter, novelist and designer William De Morgan (1839-1917), Evelyn attended the Slade Faculty of Artwork earlier than shifting away from the classical style to the Pre-Raphaelite motion underneath the affect of George Frederic Watts (Hope), his college students, and such Pre-Raphaelite painters as Dante Gabriel Rossetti and William Holman Hunt. I really like decoding De Morgan’s artwork as a religious journey of the soul or by means of the prism of symbolism, and therefore the title.
The Love Potion by Evelyn De Morgan
The Love Potion is a curious portray as a result of it goals to reverse the same old presentation of a sorceress in artwork. A girl, wearing a golden robe, is seen brewing a love potion in her examine. Although a cat, a transparent image of darkish magic, is seen beside the girl, her surrounding alchemical books clearly point out that she will not be some run-of-the-mill witch, however a scholar, an individual of a lot intelligence and talent. The sorceress’s calm manner and profiled place sign authority and respect. Her actions are to be taken significantly. By presenting the sorceress in a yellow apparel, De Morgan additionally means that she has already attained one of many remaining phases of the alchemical course of (represented by the golden color), and now could be near remaining salvation and enlightenment. The opposite predominant colors of the alchemical course of of the soul transformation (black (inexperienced), white, and pink) are additionally distinguished right here, hinting to us that this paintings has a deeply symbolic that means. It’s clear, although, that her potion has one thing to do with private issues of affection as a loved-up couple is seen exterior her window (maybe the sorceress is intent on breaking apart the lovers?)
The Gilded Cage by Evelyn De Morgan
On this De Morgan’s remaining portray accomplished some months earlier than her dying, we see the theme of the place of girls in a patriarchal society. A younger woman is searching of a window on a joyful parade of individuals exterior (that additionally encompasses a younger lady carrying a child), whereas the older man subsequent to her is seen sitting with a indifferent look of unhappy resignation on his face. The yellow chicken within the cage clearly mirrors the younger woman, who can also be wearing gold. They’re each “imprisoned” in a gilded cage surrounded by data and studying (as symbolised by the books), whereas “actual life” occurs exterior. The impression of the woman’s “imprisonment” is additional heightened by her arm bracelets (symbolically – shackles) and her braid.
It’s clear by the duo’s posture that the person is within the place of dominance, energy and management over his youthful companion. By the woman’s actions, we see that she is longing to find what’s going on exterior the window and to discover the world, whereas the older man has his again turned to the window. Clearly, he has “seen all of it”, and now, although understanding the younger woman’s curiosity, will not be eager to take any motion. Maybe, he has turn out to be disillusioned with what the surface world has to supply, and selfishly thinks that the woman’s involvement with it could result in no good (as passions of youth are short-lived and susceptible to errors). The person’s laces and his tied sash belt additionally metaphorically counsel he thinks that he’s as sure because the younger woman by their circumstances.
This portray undoubtedly resonated a lot with Evelyn de Morgan, who was a passionate promoter of girls’s rights and gender equality. She battled for her studying, data, and artwork to be taken significantly and on the identical footing as males’s within the Victorian society (therefore, additionally going by her gender-neutral center identify Evelyn, relatively than her first identify Mary).
The Backyard of Alternative by Evelyn De Morgan
This allegorical portray reveals two college students turning their again on Knowledge (the girl on the precise wearing gold) and following Folly (the girl proven on the left), who’s providing the pair short-lived pleasures and temptations. Knowledge, who’s seen close to a carved owl image and a e book, has relinquished wealth and earthly status, symbolised by a crown and a necklace mendacity on the ground, and selected data and studying. The 2 college students appear bewitched by Folly, and her promise of transitory delights of the Folly Palace seen behind her, however the scenario stays unresolved, and there’s nonetheless an opportunity for them to show again.
It’s telling right here that Folly and Knowledge look so related, being each stunning ladies wearing similar-coloured clothes, additional selling the concept that one by no means is aware of who or what precisely one follows, and one factor can simply be mistaken for an additional. At first look, the choices posed by materials wealth look nice, and, maybe, much more promising than these proven by Knowledge. Nevertheless, though Folly persuades the 2 college students together with her silver ball that she holds in her hand, one facet of the ball additionally reveals a human cranium, a element that Folly hides from the gullible college students. This one small “memento mori” element signifies that the scholars would in the future realise what a soul-crushing journey Folly as soon as proposed to them, in the event that they select to observe her now. For the current, Folly ensures that nothing seems to be amiss, as in her different hand she additionally holds a department of henbane, a toxic plant with narcotic properties.
A Soul in Hell by Evelyn De Morgan
On this paintings, a person (representing a soul) wearing a richly adorned apparel sits on a decorative bench in a backyard stuffed with roses. Regardless of his stunning, pleasurable, luxurious environment, he seems tormented, and his dishevelled black hair hints on the doom that reigns inside his head. His “darkish spirit” sits beside him on the bench, stopping the person from letting go of his psychological and emotional struggling. The picture’s interpretation may also be discovered within the little particulars: the person’s proper hand is in a reclining place signalling complete exhaustion (relatively than peaceable rest on this context), whereas his left is on his head, telling us that the best hassle is inside. His crossed legs additionally paradoxically evoke him mentally distancing, withdrawing himself from his magnificent habitat.
I really like the dichotomy between the portray’s title and what it presents. The backdrop seems some type of a paradise, nearly the Backyard of Eden, and all of the visible parallels (akin to the form of the person’s pendant reflecting the design of his stone “throne” and the color of his hair being the identical as his footwear), make the thematic distinction even stronger. The portray means that one might really feel the best sorrow and despair even whereas being wealthy and surrounded by every kind of fabric comforts and pure luxuries (and, maybe, vice versa, discovering true happiness within the gloomiest and shabbiest of environments). All of it will depend on what’s inside one’s soul and likewise on one’s frame of mind. “The thoughts is its personal place, and in itself could make a heaven of hell, a hell of heaven…” (John Milton).
