Evelyn De Morgan: Spiritual Symbolism

Evelyn De Morgan (1855-1919) was an English post Pre-Raphaelite painter, whose art reflected her beliefs in spirituality, mythology, feminism, pacifism, and other areas. The wife of potter, novelist and designer William De Morgan (1839-1917), Evelyn attended the Slade School of Art before moving away from the classical genre to the Pre-Raphaelite movement under the influence of George Frederic Watts (Hope), his students, and such Pre-Raphaelite painters as Dante Gabriel Rossetti and William Holman Hunt. I love interpreting De Morgan’s art as a spiritual journey of the soul or through the prism of symbolism, and hence the title.

The Love Potion by Evelyn De Morgan

The Love Potion is a curious painting because it aims to reverse the usual presentation of a sorceress in art. A woman, dressed in a golden gown, is seen brewing a love potion in her study. Though a cat, a clear symbol of dark magic, is seen beside the woman, her surrounding alchemical books clearly indicate that she is not some run-of-the-mill witch, but a scholar, a person of much intelligence and skill. The sorceress’s calm demeanour and profiled position signal authority and respect. Her actions are to be taken seriously. By presenting the sorceress in a yellow attire, De Morgan also suggests that she has already attained one of the final stages of the alchemical process (represented by the golden colour), and now is close to final salvation and enlightenment. The other main colours of the alchemical process of the soul transformation (black (green), white, and red) are also prominent here, hinting to us that this artwork has a deeply symbolic meaning. It is clear, though, that her potion has something to do with personal matters of love as a loved-up couple is seen outside her window (perhaps the sorceress is intent on breaking up the lovers?)

The Gilded Cage by Evelyn De Morgan

In this De Morgan’s final painting completed some months before her death, we see the theme of the position of women in a patriarchal society. A young girl is looking out of a window on a joyful parade of people outside (that also features a young woman carrying a baby), while the older man next to her is seen sitting with a detached look of sad resignation on his face. The yellow bird in the cage obviously mirrors the young girl, who is also dressed in gold. They are both “imprisoned” in a gilded cage surrounded by knowledge and learning (as symbolised by the books), while “real life” happens outside. The impression of the girl’s “imprisonment” is further heightened by her arm bracelets (symbolically – shackles) and her braid.

It is clear by the duo’s posture that the man is in the position of dominance, power and control over his younger companion. By the girl’s movements, we see that she is longing to discover what is going on outside the window and to explore the world, while the older man has his back turned to the window. Clearly, he has “seen it all”, and now, though understanding the young girl’s curiosity, is not keen to take any action. Perhaps, he has become disillusioned with what the outside world has to offer, and selfishly thinks that the girl’s involvement with it would lead to no good (as passions of youth are short-lived and prone to errors). The man’s laces and his tied sash belt also metaphorically suggest he thinks that he is as bound as the young girl by their circumstances.

This painting undoubtedly resonated much with Evelyn de Morgan, who was a passionate promoter of women’s rights and gender equality. She battled for her learning, knowledge, and art to be taken seriously and on the same footing as men’s in the Victorian society (hence, also going by her gender-neutral middle name Evelyn, rather than her first name Mary).

The Garden of Opportunity by Evelyn De Morgan

This allegorical painting shows two students turning their back on Wisdom (the woman on the right dressed in gold) and following Folly (the woman shown on the left), who is offering the pair short-lived pleasures and temptations. Wisdom, who is seen near a carved owl symbol and a book, has relinquished wealth and earthly prestige, symbolised by a crown and a necklace lying on the floor, and chose knowledge and learning. The two students seem bewitched by Folly, and her promise of transitory delights of the Folly Palace seen behind her, but the situation remains unresolved, and there is still a chance for them to turn back.

It is telling here that Folly and Wisdom look so similar, being both beautiful women dressed in similar-coloured dresses, further promoting the idea that one never knows who or what exactly one follows, and one thing can easily be mistaken for another. At first glance, the offerings posed by material wealth look great, and, perhaps, even more promising than those shown by Wisdom. However, even though Folly persuades the two students with her silver ball that she holds in her hand, one side of the ball also shows a human skull, a detail that Folly hides from the gullible students. This one small “memento mori” detail means that the students would one day realise what a soul-crushing journey Folly once proposed to them, if they choose to follow her now. For the present, Folly ensures that nothing looks amiss, as in her other hand she also holds a branch of henbane, a poisonous plant with narcotic properties.

A Soul in Hell by Evelyn De Morgan

In this artwork, a man (representing a soul) dressed in a richly decorated attire sits on an ornamental bench in a garden full of roses. Despite his beautiful, pleasurable, luxurious surroundings, he appears tormented, and his dishevelled black hair hints at the doom that reigns inside his head. His “dark spirit” sits beside him on the bench, preventing the man from letting go of his mental and emotional suffering. The image’s interpretation can also be found in the little details: the man’s right hand is in a reclining position signalling total exhaustion (rather than peaceful relaxation in this context), while his left is on his head, telling us that the greatest trouble is within. His crossed legs also paradoxically evoke him mentally distancing, withdrawing himself from his magnificent habitat.

I love the dichotomy between the painting’s title and what it presents. The backdrop appears some kind of a paradise, almost the Garden of Eden, and all the visual parallels (such as the shape of the man’s pendant reflecting the design of his stone “throne” and the colour of his hair being the same as his shoes), make the thematic contrast even stronger. The painting suggests that one may feel the greatest sorrow and depression even while being rich and surrounded by all kinds of material comforts and natural luxuries (and, perhaps, vice versa, finding true happiness in the gloomiest and shabbiest of environments). It all depends on what is inside one’s soul and also on one’s state of mind. “The mind is its own place, and in itself can make a heaven of hell, a hell of heaven…” (John Milton).