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Oil Paintings Come From United Kingdom
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Morgan, Evelyn De
English, 1855-1919 Painter, wife of William De Morgan. She was a pupil of her uncle, the painter Roddam Spencer Stanhope. In 1873-5 she attended the Slade School of Art, London. While there, she was awarded a Slade scholarship entitling her to financial assistance for three years. The scholarship required that she draw in charcoal from the nude, but she eventually declined it because she did not wish to continue working in this technique, although she excelled in it. She was influenced by the work of the Pre-Raphaelite artists and became a follower of Burne-Jones. In 1877 she first exhibited at the Grosvenor Gallery, London, and continued to show there thereafter. From 1875 she spent several winters in Florence working and studying; some of her work is reminiscent of Botticelli, possibly because of her visits to Florence. She often depicted women in unfamiliar ways though in a manner more in tune with a female perspective.

 

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Morgan, Evelyn De Hero Awaiting the Return of Leander oil painting

Painting ID::  19543

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Morgan, Evelyn De
Hero Awaiting the Return of Leander
1885.
   
   
     

 

 

Morgan, Evelyn De Dawn oil painting

Painting ID::  19544

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Morgan, Evelyn De
Dawn
1886 Russell-Cotes Art Gallery and Museum, Bornemouth.
   
   
     

 

 

Morgan, Evelyn De Medea oil painting

Painting ID::  19545

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Morgan, Evelyn De
Medea
1889 Williamson Art Gallery and Museum, Birkenhead.
   
   
     

 

 

Morgan, Evelyn De Flora oil painting

Painting ID::  19546

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Morgan, Evelyn De
Flora
1894.
   
   
     

 

 

Morgan, Evelyn De Earthbound oil painting

Painting ID::  19547

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Morgan, Evelyn De
Earthbound
1897.
   
   
     

 

 

Morgan, Evelyn De Portrait of Jane Morris oil painting

Painting ID::  19548

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Morgan, Evelyn De
Portrait of Jane Morris
1904.
   
   
     

 

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Morgan, Evelyn De
English, 1855-1919 Painter, wife of William De Morgan. She was a pupil of her uncle, the painter Roddam Spencer Stanhope. In 1873-5 she attended the Slade School of Art, London. While there, she was awarded a Slade scholarship entitling her to financial assistance for three years. The scholarship required that she draw in charcoal from the nude, but she eventually declined it because she did not wish to continue working in this technique, although she excelled in it. She was influenced by the work of the Pre-Raphaelite artists and became a follower of Burne-Jones. In 1877 she first exhibited at the Grosvenor Gallery, London, and continued to show there thereafter. From 1875 she spent several winters in Florence working and studying; some of her work is reminiscent of Botticelli, possibly because of her visits to Florence. She often depicted women in unfamiliar ways though in a manner more in tune with a female perspective.