In the pantheon of art history, the Pre-Raphaelite movement is often dominated by names like William Holman Hunt, Dante Gabriel Rossetti, and Sir John Everett Millais. Yet, amidst these luminaries, Evelyn De Morgan stands as a pioneering figure whose work, though lesser-known, offers profound insights into the trauma and meaning of war, and prefigures the fantastical elements of contemporary art. Her paintings, characterized by their visionary and energetic tableaux, are now gaining belated acclaim, thanks to a new exhibition at London's Guildhall Art Gallery.

Evelyn De Morgan's work is a testament to her unique artistic vision. Her paintings often explore themes of war, spirituality, and the human condition, offering a perspective that is both deeply personal and universally resonant. One of her most striking works, "Death of the Dragon" (1914-1918), depicts a scene that could easily be mistaken for a scene from the New Testament's apocalyptic Book of Revelation. However, painted during World War One, it serves as a powerful allegory for the suffering and bondage of that era, symbolizing the confrontation between good and evil.

This monumental painting, measuring over a meter high, is a highlight of the exhibition "Evelyn De Morgan: The Modern Painter in Victorian London." The show, which coincides with the reopening of the De Morgan Museum in Barnsley, Yorkshire, after an extensive renovation, brings together rarely seen works from the De Morgan Foundation, as well as newly restored pieces and recreations of works lost in a 1991 fire. These artworks offer a glimpse into De Morgan's unique artistic journey, one that was both visionary and deeply rooted in the socio-political context of her time.

De Morgan's work is notable for its strong female figures, who are often depicted as agents of change rather than passive objects of the male gaze. Unlike many of her contemporaries, De Morgan's women are skilled sorceresses, flying superheroines, and symbols of agency. Her mastery of the human form, reminiscent of Michelangelo, is evident in works like "Boreas and Oreithyia" (1896), which showcases her interest in mythology. These goddess-like figures, influenced by classical art, convey a sense of power and autonomy that was rare in the art of her time.

The influence of classical art is also evident in "Death of the Dragon," which draws compositional inspiration from Sandro Botticelli's "The Birth of Venus" (1483–1485). De Morgan's haloed angel, a symbol of rebirth and spiritual afterlife, contrasts sharply with the winged beasts that represent death and destruction. This recurring theme of death, often depicted as a dark angel, sea monster, or sand timer, speaks to the transience of life and the collective trauma of living through a World War that claimed nearly a million British lives.

Jean McMeakin, Chair of the Board of Trustees of the De Morgan Foundation, explains that De Morgan's work was deeply influenced by the socio-political context of her time. "During the First World War, they [the De Morgans] were in London, so they would have been directly affected," she says. "Death was real for them in a way that perhaps we've largely forgotten these days." De Morgan's pacifist beliefs are evident in works like "Our Lady of Peace" (1907), a response to the Boer Wars, and "The Red Cross" (1914-16), which suggests that Christian faith offers hope amidst the brutality of war.

The idea of good and evil acting upon ordinary people was pervasive during De Morgan's time, influenced by the spiritualist movement and the societal upheavals leading up to the turn of the century. De Morgan's mother-in-law, Sophia, a well-known spiritualist and medium, likely influenced her interest in other-worldly beliefs. This spiritual dimension is evident in works like "Earthbound" (1897), where an avaricious king is overwhelmed by the angel of death, and "The Barred Gate" (c.1910-1914), where a similar figure is denied entry to Heaven.

De Morgan's work often places spiritual fulfillment and happiness at its core. In "Blindness and Cupidity Chasing Joy from the City" (1897), the figure of "Cupidity," clutching treasures, drives away "Joy" in the form of an angel. This theme of materialism versus spirituality is also evident in "Death of the Dragon," where the winged serpents' crowns symbolize greed and miserliness. De Morgan's feminist perspective is also notable, with works like "The Prisoner" (1907-1908) and "Luna" (1885) using captivity as a metaphor for gender inequality.

Technically, De Morgan was a pioneer, experimenting with burnishing and rubbing gold pigment into her works to add depth and interest. She also explored new painting techniques invented by her husband, William De Morgan, who ground colors with glycerine and spirit. Stylistically, her unconventional use of pinks and purples, and the bold rings of rainbow-colored light, prefigure the psychedelic painting styles of the 1970s, while her terrifying monsters would not look out of place in contemporary fantasy art.

Despite her pioneering work, Evelyn De Morgan has often been overshadowed by her husband and the famous men in their circle. However, her unique artistic vision, characterized by strong female figures, spiritual themes, and a deep engagement with the socio-political context of her time, makes her a deserving candidate for the art world's belated acclaim. Her work, which prefigures contemporary fantasy art and offers a powerful commentary on war and spirituality, is a testament to her enduring legacy.

As we reflect on Evelyn De Morgan's work, we are reminded of the power of art to convey profound truths and offer hope amidst darkness. Her paintings, with their visionary and energetic tableaux, invite us to consider the forces of good and evil, the transience of life, and the importance of spiritual fulfillment. In a world that often feels chaotic and uncertain, De Morgan's work serves as a beacon of hope, reminding us that even in the darkest times, there is always a glimmer of light.