1855-1919 British Evelyn De Morgan Galleries She was born Evelyn Pickering. Her parents were of upper middle class. Her father was Percival Pickering QC, the Recorder of Pontefract. Her mother was Anna Maria Wilhelmina Spencer Stanhope, the sister of the artist John Roddam Spencer Stanhope and a descendant of Coke of Norfolk who was an Earl of Leicester. Evelyn was homeschooled and started drawing lessons when she was 15. On the morning of her seventeenth birthday, Evelyn recorded in her diary, "Art is eternal, but life is short..." "I will make up for it now, I have not a moment to lose." She went on to persuade her parents to let her go to art school. At first they discouraged it, but in 1873 she was enrolled at the Slade School of Art. Her uncle, John Roddam Spencer Stanhope, was a great influence to her works. Evelyn often visited him in Florence where he lived. This also enabled her to study the great artists of the Renaissance; she was particularly fond of the works of Botticelli. This influenced her to move away from the classical subjects favoured by the Slade school and to make her own style. In 1887, she married the ceramicist William De Morgan. They lived together in London until he died in 1917. She died two years later on 2 May 1919 in London and was buried in Brookwood Cemetery, near Woking, Surrey.   Related Paintings of Evelyn De Morgan :. | Our Senora of the Peace | phosphorus and hesperus | Helen of Troy | Port After Stormy Sea | Aurora Triumphans a.k.a. Dawn |
Related Artists:
John Pettie
British Painter, 1839-1893 He was brought up in Edinburgh and East Lothian, and in 1855 he entered the schools of the Trustees' Academy, Edinburgh, sponsored by the history painter James Drummond (1816-77). He studied under Robert Scott Lauder, and among his fellow students were WILLIAM QUILLER ORCHARDSON, Thomas Graham (1840-1906), George Paul Chalmers (1833-78), John Burr (1831-93) and John MacWhirter, several of whom later became part of Pettie's circle of Scottish artist friends in London. Pettie first exhibited at the Royal Scottish Academy in 1858 with In Trabois House (untraced), a scene from Sir Walter Scott's The Fortunes of Nigel, and he began sending work to the Royal Academy in 1860. From 1858 he provided illustrations for the periodical Good Words, and, encouraged by the reviews received for his early Royal Academy exhibits, such as The Armourers (exh. RA 1860) and What D'Ye Lack' (exh. RA 1861), when Good Words transferred its headquarters, Pettie moved to London in 1862. He shared a studio in Fitzroy Square with Orchardson and Graham from 1863 until his marriage to Elizabeth Ann Bossom on 25 August 1865. He subsequently lived at various addresses, gravitating towards the wealthy artistic colony in St John's Wood, where in 1882, at 2 Fitzjohn's Avenue, he built a neo-Georgian house and studio, The Lothians (destr.). This reflected not only the professional circle in which Pettie moved but also the rapid financial success that he achieved in London. From the mid-1860s his most important patron was John Newton Mappin, founder of the Mappin Art Gallery,
Pierre Subleyras
1699-1749 French painter, draughtsman and printmaker, active in Italy. He was one of the foremost French painters of portraits and religious compositions of the first half of the 18th century. From 1728 he lived in Rome, first as a student and then as an independent master working principally for the religious orders.
MIGNON, Abraham
Dutch Baroque Era Painter, 1640-1679 Dutch painter, was born at Frankfurt. His father, a merchant, placed him under the still-life painter Jacob Marrel, by whom he was taken to the Netherlands about 1660. He then worked under Jan Davidszoon de Heem at Utrecht, where in 1675 he married the daughter of the painter Cornelis Willaerts. Sibylle Merian (1647-1717), daughter of the engraver Matthew Merian, became his pupil and achieved distinction as a flower painter. He died at Utrecht. Mignon devoted himself almost exclusively to flowers, fruit, birds and other still-life, though at times he also attempted portraiture. His flower pieces are marked by careful finish and delicate handling. His favourite scheme was to introduce red or white roses in the centre of the canvas and to set the whole group of flowers against a dark background. Nowhere can his work be seen to better advantage than at the Dresden Gallery, which contains fifteen of his paintings, twelve of which are signed. Six of his pictures are at the Louvre, four at the Hermitage, and other examples are to be found at the museums of Amsterdam,