Although too young to have known Rossetti or the Pre-Raphaelites, she painted wonderful allegorical and narrative works well into the 20th century, and was a successful illustrator.
Having painted in Realist, Naturalist and Impressionist styles, from about 1893 she settled with the Pre-Raphaelite, even making egg tempera her main medium.
The inscription on her gravestone reads “I have known love and the light of the sun.” Both shine through in ‘The Sense of Sight’.
Very much a Modern Woman, she was in London during the height of the Pre-Raphaelite movement, when she painted her masterpiece of Elaine of Astolat.
Introduction to a series of articles looking at the work of some of the brilliant women artists who were associated with the movement.
How one critic established the success of the Pre-Raphaelite movement, but set its landscape painters an impossible challenge.
The story behind the commissioning of Edward Burne-Jones to paint his monumental series telling the story of Perseus and Andromeda.
Why did the Pre-Raphaelites want to return to the ‘purity’ of painting before Raphael? Did they succeed?
It’s ironic that the Pre-Raphaelites, who wanted to take painting back to the days before Raphael, then took up his themes.
His four best paintings viewed in their historical context, and consideration of the constraints that he painted under. What if?