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sea monsters, fauns and mermaids. William De Morgan’s socialist values were deep-rooted in practice. As an employer, he paid his workers for time off sick, around 80 years before this was a legal requirement. He ensured each of his staff were able to adopt a medieval, holistic approach to their work, rejecting modern industrial methods of manufacture and ensuring they had a meaningful working life.
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681:- Artists’ Village, Surrey, was visited by the De Morgans when it was the home of their contemporaries Mary and George Watts. 'Decoration or Devotion?' is an exhibition that juxtaposes William and Mary’s exclusive interest in the decorative elements of Islamic art for their unique designs, with Evelyn and George’s deep concern for symbolic motifs that would convey their political messages.
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in 1914, as they wished everyone to have the equal opportunity they had in marriage. Evelyn had propped up the failing ceramics business with around £4,000 of her personal wealth, but had been permitted to pursue her own career rather than become a ‘angel of the home’ turning gender roles of the time
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offered a solution, and
William embarked instead upon a career as a designer of stained glass and later, ceramics. He escaped urban London with designs of medieval flowers, and Islamic foliage and rejected gritty realism in favour of creating fantastical beasts, emblazoning his tiles with unicorns,
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sessions. Many of these interactions illuminate her later, spiritualist paintings. Evelyn De Morgan’s jewel-like paintings have the power to transport us to a dream-like world beyond our own. Although they subscribed to the aesthetic status quo, she painted with her own feminist, Spiritualist, and
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Following her sister’s death in 1919, she had to battle with their brother
Spencer, the executor of the De Morgan estate, to buy paintings from Evelyn’s studio which he saw as ‘refuse’, not good enough. Mercifully, she succeeded in acquiring these paintings and protecting them from disposal. Her
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William (1839 - 1917) reacted to the industrial revolution of mass production, with hand-painted stained glass and ceramics. The son of a mathematician father and social reform campaigner mother, William was raised in a liberal household which instilled socialist ideals in him from a young age.
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is now a purpose built De Morgan gallery, hosting the exhibition 'Look
Beneath the Lustre' which encourages visitors to understand how and why the De Morgans created their artworks. Designs, drawings, and sketches are on display to allow a more meaningful engagement with original artworks.
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To help him deal with his depression, Evelyn recommended he tried to write instead. It worked, and he became an international literary sensation. He earned more than Evelyn for the first time, enabling her to focus on her spiritual paintings rather than any commercial considerations.
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One of her earliest De Morgan acquisitions was probably her wedding gift from
William De Morgan, a plate with a leopard politely tapping an antelope on the back, typical of his anthropomorphic designs and charming sense of humour. She soon began to collect in earnest.
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Both
William (1839-1917) and Evelyn (1855-1919) De Morgan were artists when they married in 1887, and in addition to their art they became involved in many of the leading issues of the day including the suffrage movement, prison reform, pacifism, and spiritualism.
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Following his initial instruction in drawing at Cary’s Art
Academy, he was prepared to enter the Royal Academy. For four years he drew rigorous studies of antique casts, growing gradually disillusioned with the institution.
465:’ paint at a fancy-dress party, Evelyn Pickering laughed as William De Morgan quipped that he was ‘madder still’. Three years later, the two were married, forging the most unique creative partnership of the day.
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The De Morgan
Collection is owned by the De Morgan Foundation which enables public access to the works through a programme of loans and exhibitions as well as providing an online catalogue of works.
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of the charity The De Morgan
Foundation is The De Morgan Trustee Company Limited, Company Number: 06914254. The Foundation is managed by the Board of Directors of the Trustee Company.
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Upon her death in 1965, she donated her art collection to the Trust. In the years following her death, parts of the collection were displayed at a number of locations including
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The
Collection is displayed in partnership with three museums where there is local and historical significance for this nationally important collection. The De Morgan Museum at
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The
Foundation also makes long-term loans of the artworks to UK museums and galleries, and has a successful programme of touring exhibitions and international loans.
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Evelyn (1855 - 1919) rejected the stuffy echelons of the upper-class society she was born into to become an artist. With the help of her Pre-Raphaelite uncle,
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Wightwick Manor, Wolverhampton, is a house built to Oscar Wilde’s principles of the aesthetic interior and filled with De Morgan tiles and artworks. The old
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and his associates, and other works of art in the collection, and to promote the appreciation of art and education in art and allied subjects.
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glaze, an ancient technique he had reinvented to high acclaim. By 1904, his business had folded as his outdated designs became unpopular.
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by William De Morgan, including 50 tile panels and 420 individual tiles, and 260 plates, chargers, vases, bottles, and bowls, etc.
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Her art was immediately a commercial success, allowing her to present her feminist ideals through beautiful paintings.
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William and Evelyn De Morgan believed their art could create a better, more beautiful world for everyone, forever.
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The collection was formed by Evelyn De Morgan’s sister, Mrs. Wilhelmina Stirling, a supporter of the ideals of the
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Evelyn signed the Declaration in Favour of Women’s Suffrage in 1889, and William became the president of the
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The charitable objects of the Foundation are to safeguard, maintain and make available to the public the
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pacifist visual lexicon to ensure that her own political views were upheld in her painted propaganda.
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William De Morgan, Fish and Petal Rice Dish, decorated by Charles Passenger, the De Morgan Collection
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that states a Knowledge editor's personal feelings or presents an original argument about a topic.
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It may require cleanup to comply with Knowledge's content policies, particularly
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William’s career had peaked with his work in achieving the perfect metallic
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Longstaff Reading Room of the former Wandsworth Library at West Hill in
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relentless collecting forced her and her husband to relocate in 1931 to
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and travelled through Italy and France sketching from the Old Masters,
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Evelyn's last work of art was her design for their headstone.
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The collection comprises work by the late 19th century ceramicist
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personal reflection, personal essay, or argumentative essay
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Rachel S. Gear, ‘Morgan, (Mary) Evelyn De (1855–1919)’,
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of paintings, ceramics, and other works of art made by
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A major contributor to this article appears to have a
828:. Madison, NJ: Fairleigh Dickinson University Press.
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Evelyn Pickering De Morgan and the Allegorical Body
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985:Memorial to Heroic Self Sacrifice - Postman's Park
605:The De Morgan Collection is now displayed at the
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378:, Registered Charity No. 310004 since 1970.
376:The Charity Commission For England And Wales
637:by Evelyn De Morgan, ranging in style from
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53:Learn how and when to remove these messages
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265:Learn how and when to remove this message
163:Learn how and when to remove this message
105:Learn how and when to remove this message
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939:Oxford Dictionary of National Biography
660:The collection also comprises over 700
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1222:Art collections in the United Kingdom
1175:Percival Spencer Umfreville Pickering
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956:Stirling, A. M. W. (1922).
500:The Result of an Experiment
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1212:Charities based in England
1191:Pre-Raphaelite Brotherhood
1031:Works by William De Morgan
1022:Works by A. M. W. Stirling
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943:accessed 7 March 2015
918:"Mrs A.M.W. Stirling"
824:Smith, Elise (2002).
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1186:De Morgan Foundation
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710:"Charity Commission"
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368:De Morgan Foundation
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898:on 17 November 2018
871:"William De Morgan"
807:"William De Morgan"
569:Old Battersea House
474:Slade School of Art
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1163:Percival Pickering
892:"Evelyn De Morgan"
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1099:Aurora Triumphans
1035:Project Gutenberg
1026:Project Gutenberg
835:978-0-8386-3883-5
782:"Companies House"
757:"Companies House"
627:The Storm Spirits
553:Spencer Stanhopes
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813:: 440–446.
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696:References
639:classicism
600:Wandsworth
478:Botticelli
397:Governance
225:newspapers
39:improve it
16:UK charity
1177:(brother)
1159:(husband)
1083:Paintings
741:13 August
686:Malthouse
647:Symbolism
401:The sole
354:.demorgan
312:Formation
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87:talk page
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662:ceramics
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551:and the
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1150:Related
525:History
403:Trustee
389:and by
372:charity
347:Website
317: (
239:scholar
139:Please
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