#MarieStillman
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Additionally:

Marie was highly educated and intellectually ambitious.

She did not merely sit quietly for portraits while men discussed art around her. She studied literature, poetry, languages, and painting techniques with intense seriousness.

#Victorian #MarieStillman #artists #art #history
It shows a painting of Marie Stillman depicted as a woman surrounded by nature. Madonna Pietra degli Scrovegni by Marie Spartali Stillman (1884)
May 11, 2026 at 12:45 AM
emory-f8.bsky.social
Also:

The women in her paintings frequently felt more emotionally alive and psychologically thoughtful than the passive “ideal beauties” commonly painted by the male artists.

Eventually, she exhibited professionally at the Royal Academy of Arts.

#Victorian #MarieStillman #artists #art #history
It shows a painting depicting the scene where the Italian saint, Conrad of Offida is having a vision of the Virgin Mary. How the Virgin Mary Came to Brother Conrad of Offida and Laid Her Son in His Arms by Marie Spartali Stillman (1892)
May 11, 2026 at 12:53 AM
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“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