DOI issue:
No. 86 (May, 1900)
DOI article:Sparrow, Walter Shaw: The art of Mrs. William de Morgan
DOI Page / Citation link:https://doi.org/10.11588/diglit.19784#0237
Tlie Art of Evelyn De Morgan
are its modes of thought forgotten by anyone who, in art-criticism would prevent a great deal of idle
penetrated with the genius loci, has imagination talk about the alleged affectation of the Victorian
enough to become a spiritual contemporary of the Pre-Raphaelites. To-day, in this article, it is a
early Old Masters whose work he loves best to fact which must not be forgotten even for a
contemplate. To such a student—call him a moment, as the work of Mrs. l)e Morgan is
visionary if you like—the early Italian and Flemish nothing if not the inevitable outcome of the
painters are not antiquated, out of date. They intuitive fondness she has ever had for modes
are as familiar to him as Homer is to many of aesthetic expression which still seem to most
ardent devotees. This is a fact worth remember people primitive.
ing, for an intelligent recognition of its importance As we have already seen, the earliest of her art
influences were found in
the National Gallery, where
the natural bias of her
mind in childhood brought
her into sympathy with the
early Italians; we have
seen, too, how this sym-
pathy was encouraged and
deepened by frequent visits
to Italy; and mention has
also been made of the
artist's admiration for
Burne-Jones. It is en-
thusiasm rather than admi-
ration, and its effect on
Mrs. De Morgan's technical
equipment is easily noted
in many picturesandstudies.
One feels, too, on very rare
occasions, that it has
touched the inner essence
and life of a piece of work,
leaving a trace of unpleasing
wistfulness, of spiritual lan-
guor; but this has happened
very rarely, and the fact is
mentioned here only be-
cause that languor is the
negation of all the human
cheerfulness and vigour of
spirit that make life liveable
and civilisation progressive.
This is how it appeals to
me, and one must needs
avoid that suppression of
adverse criticism which
turns a writer into a mere
" flatterer, a beast that
biteth smiling."
At the same time, how-
ever, I am well aware that
what is truthful criticism to
one man is of necessity
sxudv by evelvn de morgan more or less false to every-
224
are its modes of thought forgotten by anyone who, in art-criticism would prevent a great deal of idle
penetrated with the genius loci, has imagination talk about the alleged affectation of the Victorian
enough to become a spiritual contemporary of the Pre-Raphaelites. To-day, in this article, it is a
early Old Masters whose work he loves best to fact which must not be forgotten even for a
contemplate. To such a student—call him a moment, as the work of Mrs. l)e Morgan is
visionary if you like—the early Italian and Flemish nothing if not the inevitable outcome of the
painters are not antiquated, out of date. They intuitive fondness she has ever had for modes
are as familiar to him as Homer is to many of aesthetic expression which still seem to most
ardent devotees. This is a fact worth remember people primitive.
ing, for an intelligent recognition of its importance As we have already seen, the earliest of her art
influences were found in
the National Gallery, where
the natural bias of her
mind in childhood brought
her into sympathy with the
early Italians; we have
seen, too, how this sym-
pathy was encouraged and
deepened by frequent visits
to Italy; and mention has
also been made of the
artist's admiration for
Burne-Jones. It is en-
thusiasm rather than admi-
ration, and its effect on
Mrs. De Morgan's technical
equipment is easily noted
in many picturesandstudies.
One feels, too, on very rare
occasions, that it has
touched the inner essence
and life of a piece of work,
leaving a trace of unpleasing
wistfulness, of spiritual lan-
guor; but this has happened
very rarely, and the fact is
mentioned here only be-
cause that languor is the
negation of all the human
cheerfulness and vigour of
spirit that make life liveable
and civilisation progressive.
This is how it appeals to
me, and one must needs
avoid that suppression of
adverse criticism which
turns a writer into a mere
" flatterer, a beast that
biteth smiling."
At the same time, how-
ever, I am well aware that
what is truthful criticism to
one man is of necessity
sxudv by evelvn de morgan more or less false to every-
224