From her first study trip to Rome in 1875, to her marriage to William De Morgan in 1885, her early work from this decade can broadly be categorized as history paintings, which is an oddity for a woman artist.įirst of all, history paintings were perceived as being superior because of the required education needed to produce one. De Morgan’s use of the female nude stood for allegorical purposes, which often tackled the dissatisfaction women felt from their stifling roles in life (Smith 60-61).ĭuring the first decade of her career, her focus wasn’t on the allegorical as much as it was on producing paintings from sources that were more traditionally biblical, mythological, or literary. These women were viewed as being morally decadent, or surprisingly, as being politically conservative because they were following the classical revival movement, which was popular at the time. Women artists who portrayed the female nude during the late nineteenth century ran the risk of being pegged into two categories.
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