Image source: artvee.com
Introduction
Evelyn De Morgan’s Our Lady of Peace (1907) is a luminous testament to the artist’s Pre‑Raphaelite training, Symbolist vision, and deep pacifist convictions. Set within a grandiose yet intimate interior, the composition centers on a serene Madonna figure—peace personified—enveloped by ethereal rays of gold and rainbow hues. Kneeling before her is a young knight in gleaming armor, his clasped hands raised in supplication. Around them swirl a host of angelic cherub heads, their delicate faces framed by feathered wings, while the architectural backdrop features soaring pillars and stained‑glass windows. Through masterful use of light, color, and composition, De Morgan transforms a medieval devotional motif into a powerful allegory for reconciliation and divine grace at the dawn of the twentieth century.
Historical and Cultural Context
By 1907, Evelyn De Morgan (1855–1919) had been painting for over two decades, developing a reputation as one of Britain’s foremost women artists. The turn of the century was marked by rapid industrialization, imperial conflicts, and rising tensions among European powers. The Second Boer War had exposed the brutality of colonial conquest, and the suffragist movement was challenging established social hierarchies. De Morgan’s husband, William De Morgan, a renowned ceramicist, was a pacifist whose writings and lectures advocated for peace in Europe. Our Lady of Peace emerges against this backdrop as a poignant plea for divine intervention in human affairs. Its imagery hearkens back to medieval and Renaissance iconography, yet its message speaks directly to contemporary anxieties about war, social justice, and the role of faith in public life.
Artistic Lineage and Influences
Evelyn De Morgan was deeply influenced by the Pre‑Raphaelite Brotherhood and their champions, John Ruskin and Dante Gabriel Rossetti. From the Pre‑Raphaelites she inherited a painstaking attention to naturalistic detail—visible in the individual feathers of the cherubs’ wings and the subtle etchings on the knight’s armor. Rossetti’s rich color harmonies and his emphasis on spiritual emotion also shaped her approach, while Symbolist painters such as Gustave Moreau and Jean Delville inspired her to imbue each element with layered meaning. De Morgan’s own reading of Theosophical texts and her Christian Socialist beliefs further informed her choice to elevate spiritual allegory above mere aesthetic ornamentation.
Composition and Spatial Dynamics
Our Lady of Peace is organized around a vertical axis that begins at the knight’s clenched hands, ascends through the swirling angels, and culminates in the Madonna’s outstretched arms and haloed visage. The painting’s near‑monumental height accentuates this upward movement, drawing the viewer’s gaze from the earthly supplicant to the heavenly intercessor. Architectural elements—the towering pillars and vaulted arch—frame the central figures, creating a sense of sacred enclosure reminiscent of Gothic cathedrals. Yet De Morgan avoids claustrophobia by allowing the golden light to permeate the scene, dissolving solid forms into radiance. The dynamic interplay between the static geometry of the columns and the fluid motion of the cherubs’ swirling forms reinforces the painting’s tension between earthly order and divine transcendence.
Use of Light and Color
Light in Our Lady of Peace functions as a living presence rather than a mere optical phenomenon. De Morgan bathes the Madonna in a spectrum of prismatic rays that emanate from an unseen source above, painting the figure’s white garment with hues of rose, lavender, and pale gold. This multicolored light not only highlights the emotional warmth of her expression but also symbolizes the all‑encompassing nature of peace as a unifying force. The knight’s armor reflects this radiance, catching flecks of red and blue amid burnished steel, so that even martial implements become agents of beauty. The background’s cooler tones—icy greys in the stone columns and deep emerald in the stained glass—create a sumptuous contrast, ensuring that the Madonna’s luminous figure remains the indisputable focal point.
Iconography and Symbolic Resonance
At its heart, Our Lady of Peace is a complex allegory. The Madonna represents peace incarnate—her laurel wreath echoing classical victories while her halo recalls Christian sanctity. The knight, clad in armor, embodies humankind’s martial impulses yet stands in humility, acknowledging that true victory lies not in conquest but in spiritual reconciliation. The cherubic angels, scattered throughout the composition, serve as intermediaries, their innocent faces and gentle wings suggesting that peace is nurtured by both the divine and the most modest expressions of goodwill. Architectural details—grapevine carvings on the pillar and the candlelit altar behind—evoke the Eucharist and the vine as symbols of Christ’s sacrifice and communal unity. Thus De Morgan layers her image with references that unite pagan and Christian iconography in a single plea for harmony.
Technique and Painterly Mastery
Evelyn De Morgan executed Our Lady of Peace with a blend of academic rigor and experimental freedom. Infrared reflectography reveals a finely drawn under sketch, establishing exact proportions and drapery folds. Over this, she applied layers of oil glazes, building luminous flesh tones and rich fabric textures. The cherubs’ soft skin was achieved through delicate feathering, while the Madonna’s gown bears the smooth patina of multiple translucent washes. In areas of intense radiance, De Morgan incorporated metallic pigments—gold and silver highlights—carefully blended so as not to appear garish. Her handling of the knight’s armor combines thin glazes of iron oxide with heavier impastos of umber to simulate the weight and sheen of metal. Through these technical innovations, De Morgan created a work that balances naturalism with an ethereal glow, mirroring the painting’s thematic fusion of earth and heaven.
Emotional and Psychological Dimensions
Although grand in scale and rich in symbolism, Our Lady of Peace resonates deeply on an emotional level. The knight’s expression—equal parts awe, longing, and relief—invites viewers to share in his moment of conversion. The Madonna’s gentle gaze and outstretched hand convey compassion without condescension, suggesting that peace is both given freely and actively embraced. The cherubs, some attentive, others playfully drifting, evoke the multifaceted nature of spiritual life—serious devotion interwoven with moments of childlike joy. De Morgan thus crafts a psychological narrative: the journey from fear and strife to trust and serenity. In doing so, she transforms the medieval motif into a universal story of redemption accessible to viewers across time.
Reception and Legacy
When first exhibited, Our Lady of Peace received acclaim for its technical brilliance and uplifting message. Critics praised De Morgan’s vibrant color harmonies and her ability to marry classical form with contemporary relevance. Over ensuing decades, however, the painting was overshadowed by modernist trends that favored abstraction. It was only in the late twentieth century, with the resurgence of interest in women artists and the Pre‑Raphaelite legacy, that Our Lady of Peace regained scholarly and public attention. Today the painting is recognized not only as a jewel of Symbolist art but also as an early harbinger of socially engaged painting—an artwork that confronts the moral challenges of its age through the language of allegory.
Contemporary Relevance
In the twenty‑first century, Our Lady of Peace continues to speak powerfully. Its message of reconciliation resonates amid global conflicts, cultural divisions, and social unrest. Peace activists and faith communities alike draw inspiration from the painting’s vision of unity across differences—symbolized by the convergence of light rays and the diverse cherubic faces. Environmentalists see in the grapevine and candlelight references to stewardship and shared nourishment, linking social harmony with ecological balance. The image of a warrior exchanging arms for prayerful devotion offers a potent metaphor for individuals and nations seeking alternatives to violence. In galleries and online forums, Our Lady of Peace serves as a luminous reminder that art can both reflect and shape the collective conscience.
Conclusion
Evelyn De Morgan’s Our Lady of Peace transcends its Victorian origins to become a perennial allegory of hope. Through seamless integration of Pre‑Raphaelite detail, Symbolist depth, and unwavering moral vision, De Morgan crafted a work that speaks as urgently to contemporary audiences as it did to her own. The painting’s radiant figures, harmonious composition, and rich symbolism invite viewers to contemplate the true nature of peace—a gift that flows from compassion, humility, and the recognition of our shared humanity. At a moment when the world continues to grapple with conflict and division, Our Lady of Peace endures as a beacon: an invitation to lay down arms, lift up hearts, and walk together toward a more compassionate future.