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Fire & Fantasy

Fire & Fantasy

September 8, 2017

Heavy Music Artwork 6th installation: Fire & Fantasy is centred around the concept of fantasy, imagination and escapism. No other...

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Avant-Garde

Avant-Garde

May 26, 2017

Heavy Music Artwork launches world’s first and only metal and rock art magazine - Issue 5 pre-sell: Avant-GardeFeaturing: Ulver, Sun O)))...

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Legacy

Legacy

March 10, 2017

The aging process affects pretty much everything in one way or another; but it may also lead to things being...

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Human

Human

January 20, 2017

The third issue of Heavy Music Artwork is an introspective outlook on music and art. Rock and metal have a...

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Folklore

Folklore

October 20, 2016

The second installment of Heavy Music Artwork is dedicated to Folk Art. Often referred to as ‘folklore’, it depicts the...

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Dark Nouveau

Dark Nouveau

July 20, 2016

The first issue is finally out and we feel inspired, happy and accomplished that we; the metal community; have a...

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Maciej Kamuda

Maciej Kamuda

July 5, 2017

The art of being yourself Most of all I'm self-taught. I...

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Cosimo Miorelli

Cosimo Miorelli

July 1, 2017

Man at work Like most people, I always drew as a...

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Rainer Kalwitz

Rainer Kalwitz

June 28, 2017

Phantastic Realism I had studied graphic arts at the university of...

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Lukasz Wodynski

Lukasz Wodynski

June 20, 2017

Living beings I graduated The School Of Fine Arts in my...

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Max Martelli

Max Martelli

June 14, 2017

Passion for Science Fiction Ever since I was young I was...

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Christian Sloan Hall

Christian Sloan Hall

June 8, 2017

The power of perseverance I was born in Santa Monica, California...

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Mike D from Killswitch Engage

Mike D from Killswitch Engage

May 31, 2017

DarkIcon studio profile All of Killswitch Engage's album artwork and tour...

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Ocvlta Designs by Surtsey

Ocvlta Designs by Surtsey

May 25, 2017

The demons and the good side I studied graphic arts in...

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Metastazis & Au Dessus: End of Chapter (Les Acteurs de l'Ombre)

Metastazis & Au Dessus: End of Chapter (Les Acteurs de l'Ombre)

July 21, 2017

There were no specific directions, the band gave me total freedom to provide my interpretation of the title. I interpreted 'End of a chapter' as plain death. And I wanted...

Robert Schober aka Roboshobo & Ghost: Cirice (Universal)

Robert Schober aka Roboshobo & Ghost: Cirice (Universal)

July 14, 2017

‘Cirice’ concept was inspirited by Brian De Palma film ‘Carrie’. The idea originated with Papa himself. He wanted to set the video in a school and do a talent show...

Napalm Death & Frode Sylthe: Apex Predator, Easy Meat (Century Media)

Napalm Death & Frode Sylthe: Apex Predator, Easy Meat (Century Media)

July 7, 2017

The band have been very much involved in the process of making this album artwork. And they tend to have a lot of ideas in which direction it all should...

Nestor Avalos & Bloodbath: Grand Morbid Funeral (Peaceville Records)

Nestor Avalos & Bloodbath: Grand Morbid Funeral (Peaceville Records)

June 30, 2017

We started from the concept of the band and the name of the album 'Grand Morbid Funeral'. This was the determinant factor for the whole process 'a place of plague...

Sikth & Dan Mumford: Opacities (Peaceville Records)

Sikth & Dan Mumford: Opacities (Peaceville Records)

June 23, 2017

I have known most of the guys in SikTh for quite a long time, I grew up in Watford, the same town that SikTh came from, and was playing in...

Obituary & Andreas Marschall: Inked in Blood (Relapse Records)

Obituary & Andreas Marschall: Inked in Blood (Relapse Records)

June 16, 2017

The idea for ‘Inked in Blood’ was developed by the Tardy brothers and me, based on an early suggestion sketch, when the band decided to move visually in a different...

Michael Berberian from E-Kunst

Michael Berberian from E-Kunst

June 9, 2017

The art of E-Kunst Mostly known as the founder of the record label Season of Mist, Michael S. Berberian has been using metal festival for years as an alibi to visit...

Camden Rocks Festival

Camden Rocks Festival

May 12, 2017

Camden Rocks Festival, established in 2009, is an exclusive festival held in London’s notorious Camden Town bringing you the best selection of rock, indie, metal and alternative music. Camden has...

DOWNLOAD FESTIVAL 2017

DOWNLOAD FESTIVAL 2017

April 24, 2017

Donnington, 9-11th June 2017 With a little over one month left to go for this year’s Download Festival, we are starting to get super excited about one of the best metal...

Pallbearer: The artwork of 'Heartless'

Pallbearer: The artwork of 'Heartless'

March 19, 2017

Initially formed in 2008, Pallbearer grew from the fertile underground metal scene of Little Rock, Arkansas - releasing their debut full length ‘Sorrow and Extinction’ in early 2012. The record...

Evelyn de Morgan

Mary Evelyn De Morgan, née Pickering, was a late-Victorian artist who lived and worked in a period marked by cataclysmic changes. Born mid-century in an England ruled over by Queen Victoria, she lived to see a series of changes climaxing in 1914 with the collapse of established world order. It was amidst this atmosphere of increasing uncertainty and anxiety that De Morgan came to maturity and developed her personal and artistic philosophies. Throughout her career as a painter, she used literary allusion and allegory to express her strongly held views on contemporary spiritual, social and moral issues.

Despite initial parental disapproval of her chosen career, Evelyn was a privileged woman. She enjoyed an upper-class lifestyle in London; excellent home education; instruction at the South Kensington National Art Training School (1872) and at the Slade School of Art (1873-76) under Edward J. Poynter. She had the artistic as well as moral support of her uncle, the Pre-Raphaelite painter John Roddam Spencer Stanhope (1829-1908). These advantages, when combined with Evelyn's prodigious talent and early decision to devote her life to art, moulded a temperament that was confident and not easily deterred by obstacles such as familial apathy, the condescension of male artists and critics, and lack of robust patronage.

After leaving the Slade to pursue an independent course of study in Italy, she returned to London to begin her career as an active painter and exhibitor. Evelyn first exhibited her work at the Dudley Gallery in 1876 with her painting St. Catherine of Alexandria (1873/5). Following this, she was one of the few female artists invited to be an exhibitor at the new Grosvenor Gallery in 1877 where her painting Ariadne in Naxos (1877) was displayed in the company of works by Spencer Stanhope, Edward Burne-Jones and George Frederick Watts.

In the early 1880s, Evelyn moved her studio from her family home in Bryanston Square to the popular Trafalgar Studios in Manresa Road, Chelsea. During this period, she lived as a professional artist in London with periodic trips to Italy where she would absorb the influences of the early Italian masters. While it is likely that she spent much of this period of her life perfecting her craft, she also took an active part in the artistic/social scene of the day. With friends such as Violet Paget, Emily Susan Ford, Margaret Burne-Jones and Mary De Morgan, she attended the theatre, Royal Academy openings and art studio open-house events.

Some time during the mid 1880s she met the ceramic designer William De Morgan (1839-1917) and his family. This introduction to the bohemian and intellectual De Morgan family was clearly a turning point in her life. Her future mother-in-law, the spiritualist and social activist Sophia Frend De Morgan (1809-1892) became her informal mentor, helping to further develop the younger woman's interest in spiritualist practices and in social reform.

In 1887 Evelyn married William De Morgan. Despite the age difference theirs was a harmonious and mutually supportive marriage. In addition to their artistic pursuits, they shared a well-documented sense of humour and an idealistic spirit. Their mutual interests included social reform, spiritualism and music. Evelyn provided financial and moral support for her husband's pottery business, which though successful required much capital.

From the early 1890s, in the interest of William's health, Evelyn enthusiastically accompanied him on extended stays to Florence every winter. As fellow artists, they led an idyllic life in Italy: Evelyn created her pictures, while William worked on his ceramic designs with the Italian painters he had hired. The De Morgans spent their weekends in the hills above Florence, at the sumptuous Bellosguardo villa where Spencer Stanhope had made his permanent home. Though she continued to exhibit, and cultivate patrons, Evelyn's distance from the London art scene, along with a certain personal reticence, cost her greater critical acclaim. On the other hand, it provided a crucible for the development of intellectual and spiritual ideas that found expression in some of her most accomplished paintings.

During her lifetime Evelyn De Morgan produced approximately 102 oil paintings and over 300 drawings. At first glance, works like Flora (1894), Cadmus and Harmonia (1877), Eos (1895) and Night and Sleep (1878) appear to be that of a typical mid-century literary painter influenced by the work of Spencer Stanhope, Watts and Burne-Jones. Consequently, this was the way in which most contemporary critics assessed her paintings: Many do reflect the usual conventions and literary subjects of late Victorian art with its Pre-Raphaelite traces and neo-classical tendencies. However, looking closer, one discovers Symbolist works that employ the language of Christian allegory to reveal the artist's engagement with the contemporary issues of her time. These works may be divided into three categories: spiritualist allegories, depictions of sacred heroines, and war paintings.

Because she was a spiritualist who practiced automatic writing with William, many of Evelyn's paintings are visual representations of the Swedenborgian notion of spiritual evolution and of a strong belief in the afterlife. Pictures that belong in this category are: The Angel of Death I and II (1880; 1890), The Kingdom of Heaven Suffereth Violence and the Violent Take It By Force (s.d.), The Light Shineth in Darkness and the Darkness Comprehendeth It Not (1906), The Passing of the Soul At Death (s.d.), and The Valley of Shadows (1899). The ideas expressed in these paintings find parallel correspondence with the text of the De Morgans' spiritualist writings, which they published anonymously in 1909 as The Result of An Experiment.

Because of the nexus between spiritualism and feminism during the late Victorian era, Evelyn, like her fellow female artists, sought new heroines with which to construct her own images of Victorian womanhood. Hence, she painted portraits of strong-minded biblical and classical women such as Ruth and Naomi, the Virgin Mary, Medea, Ariadne, Cassandra and Helen of Troy. In addition to these portrayals, Evelyn sought a new heroic female type, which could embody spiritual empowerment. As a result, she discovered the early Christian saints, especially virgin martyrs, drawn from books such as Anna Brownell Jameson's The Poetry of Sacred and Legendary Art (1848-1864). For Evelyn, who had struggled to overcome the limitations of gender and class to find fulfillment, the figure of the female martyr seems to have become a particularly apt symbol of feminine spiritual power and social responsibility. Consequently, she created paintings such as St. Catherine of Alexandria, A Christian Martyr (s.d.), and St. Christina Giving Her Father's Jewels to the Poor (1904), which tell stories of heroic female resistance, struggle and triumph. Evelyn was not content to merely illustrate the lives of the saints: Using the virgin-martyr as a kind of personal icon for spiritual and artistic freedom, she devised other more personally expressive allegories such as The World's Wealth (1896), The Thorny Path (1897), and The Gilded Cage (s.d.), which feature women at moments of existential crisis.

In 1914, as war approached, Evelyn and William De Morgan left Italy for the last time and returned to Chelsea to live and work. The Great War of 1914-1918 unnerved both these idealists, whose lives had been devoted to art and beauty. Despite her horror of war, Evelyn did not shrink from recording her response. Again she used the language of Christian allegory to paint pictures representing violence, pain, loss and, finally, redemption. In 1916, her last exhibition was held at her Chelsea studio. It included works such as S.O.S (s.d.), 1914 (1914), The Field of the Slain (s.d.) and The Red Cross (s.d.) and was organized for the benefit of the British and Italian Red Cross.

William De Morgan died, probably of influenza, in 1917. Evelyn lived on until 1919, painting and attending to William's artistic legacy. She lived to see the end of the war, but not the signing of the Treaty of Versailles. 

For more information about Evelyn and William De Morgan, please visit the website of the De Morgan Centre in London: www.demorgan.org.uk

Biography by Judy Oberhausen & Nic Peeters

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