Evelyn De Morgan's Female Alchemist in a Figurehead for the Female Artist
Evelyn De Morgan’s Female Alchemist in The Love Potion: A Figurehead for the Female Artist Gannon __________________________________________________________________________________ Evelyn De Morgan’s Female Alchemist in The Love Potion: A Figurehead for the Female Artist Corinna Gannon Goethe University, Frankfurt Evelyn De Morgan’s enigmatic Pre-Raphaelite and Symbolist allegories are informed by multiple artistic movements.1 They have been interpreted against a feminist backdrop due to her status as a female artist in Victorian and Edwardian England and her personal engagement with women’s rights. They have also been studied as a pacifist response to the major horror of her time, war, and in the context of spiritualism, which had the most profound impact on her visual language and will provide the starting point for this essay’s argument.2 She and her husband, William De Morgan, the famous Arts-and-Crafts 1 Her paintings oscillate between late Pre-Raphaelitism, late Romanticism, Victorian Classicism, Aesthesticism, Decadence, and Symbolism. For a discussion on the evaluation of her work, see Elise Lawton Smith, Evelyn Pickering De Morgan and the Allegorical Body (Madison: Fairleigh Dickinson University Press, 2002), 13, 54, 203. 2 On De Morgan and feminism, see Pamela Gerrish Nunn, Victorian Women Artists (London: Women’s Press, 1987); Jan Marsh and Pamela Gerrish Nunn, eds., Women Artists and the Pre-Raphaelite Movement (London: Virago Press, 1989); Deborah Cherry, Painting Women: Victorian Women Artists (London: Routledge, 1993); Susan P. Casteras and Linda H. Peterson, A Struggle for Fame: Victorian Women Artists and Authors (New Haven: Yale Center for British Art, 1994); Jan Marsh and Pamela Gerrish Nunn, eds., Pre-Raphaelite Women Artists (London: Thames and Hudson, 1998); Deborah Cherry, Beyond the Frame: Feminism and Visual Culture, Britain 1850–1900 (London: Routledge, 2000).
[Show full text]