#MarieSpartaliStillman
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nathanfrancis79.bsky.social
🎨 #MarieSpartaliStillman, British Pre-Raphaelite painter, was #BOTD 10 March 1844. #Art #Painting
March 10, 2025 at 7:07 AM
nathanfrancis79.bsky.social
🎨 #MarieSpartaliStillman, British Pre-Raphaelite painter of Greek descent, was #BOTD 10 March 1844. #Art #Painting
March 10, 2026 at 4:50 AM
artherstory.bsky.social
The First Meeting of Petrarch and Laura, 1889, by #MarieSpartaliStillman (British, 1844-1927), who was born #otd, Mar 10. Source, leicestergalleries.com/browse-artwo...

#womenartists #artherstory
March 10, 2024 at 9:38 PM
artherstory.bsky.social
For more perspective on #MarieSpartaliStillman see Margaretta Frederick's #ArtHerstory guest post - Marie Spartali Stillman’s The Last Sight of Fiammetta artherstory.net/marie-sparta...
Marie Spartali Stillman and The Last Sight of Fiammetta
Using The Last Sight of Fiammetta as a focal point, Margaretta Frederick discusses the life & art of British painter Marie Spartali Stillman.
artherstory.net
March 10, 2024 at 9:39 PM
mdstamper.bsky.social
“Love’s Messenger” by Marie Spartali Stillman (Greek-British) - Watercolor, tempera & gold on paper / 1885 - Delaware Art Museum (Wilmington) #WomenInArt #MarieSpartaliStillman #DelawareArtMuseum #PreRaphaelite #artText #Pre-Raphaelite #MarieStillman #WomensArt #WomenArtists #WomenPaintingWomen
A light-skinned young woman, likely in her late teens or twenties, is shown in quiet profile by an open window. Her chestnut hair is gathered into a low knot and topped with a russet cap and a soft gray bow as a sheer scarf trails behind her. She wears a deep teal outer dress over a mauve gown, with a frill of white lace at the neckline. With her left hand, she presses a folded note to her chest, while her right hand is held palm-up to feed a white dove perched delicately on her thumb. Golden kernels (some cupped in her palm, others spilled on the stone window sill) almost glow against cool interior light. A thin cord trails from the bird toward the message, suggesting it has just arrived as a courier. On the table below, skeins of crimson and olive thread and a partially finished embroidery show a winged, blindfolded Cupid with bow and arrow, paused mid-stitch. To the left sits a vase of dark red flower blossoms. Beyond a leaded “bull’s-eye” glass window, a calm river recedes toward a pale horizon, bordered by tall, umbrella-crowned pines as ivy climbs the sill, knitting the room to the landscape. British (of Greek descent) artist Marie Stillman (née Spartali; Greek: Μαρία Σπαρτάλη) emerged from London’s Anglo-Greek circle into the later Pre-Raphaelite world, first as a renowned model and then as an artist. In 1906, she called this work “merely a study from a model,” inspired by a bull’s-eye studio window. Still, the scene is carefully coded with the dove as courier (and Venus bird), the rose, the ivy, and the blindfolded Cupid to tell a story of love as devotion, desire, and danger. The story stays unresolved. Has the bird just arrived, or is it being sent away? Is the note tender, troubling, or both? Even the scattered grain could be a welcome, or a tremor after sudden news. Between the intimate room and the cool river landscape beyond the panes, the picture lingers on a moment when a woman receives a message, holds it close, and decides what it will mean.
January 22, 2026 at 11:23 PM
giveitback.bsky.social
Marie Spartali Stillman (British/English, 1844-1927)•The Last Sight of Fiammetta•1892•Private collection (See ALTtext)
#Women'sHistoryMonth #MarieSpartaliStillman #WomanArtist #Pre-RaphaeliteSisterhood #art #ArtHistory #painting #LiteraryPainting #19thCenturyBritishArt #BritishArt
This work showcases the talent of the young artist, having been painted only six years after beginning her training under Ford Madox Brown. The subject is taken from Boccaccio’s psychological romantic novel Elegia di Madonna Fiammetta and bears many of the hallmarks of the Pre-Raphaelite Brotherhood with whom she was so close. — Bonham's
March 10, 2025 at 7:55 PM