Evelyn De Morgan (30 August 1855 – 2 May 1919) was an English painter associated early in her career with the later phase of the Pre-Raphaelite Movement, and working in a range of styles including Aestheticism and Symbolism.

[2] De Morgan was educated at home; according to her sister and biographer, Anna Wilhelmina Stirling, their mother insisted that "from the first Evelyn [was to] profi[t] from the same instruction as her brother."

[6] She studied Greek, Latin, French, German, and Italian, as well as classical literature and mythology, and was also exposed at a young age to history books and scientific texts.

[2] For the first half of their marriage, De Morgan used the profits from sales of her work to help financially support her husband's pottery business; she also actively contributed ideas to his ceramics designs.

[8] Since precious little primary material in Evelyn De Morgan’s own hand has survived,[9] this text provides important information about her faith and her approach to a range of issues—from her understanding of ultimate reality to her belief about the role of art in capturing spirit.

From the moment that de Morgan encountered spiritualism, her perspective seemed to change, and her works started to reflect more ideas about darkness and death.

[2] Evelyn De Morgan died on 2 May 1919 in London, two years after the death of her husband and was buried in Brookwood Cemetery near Woking, Surrey.

She rebelled against any efforts to turn her into an "idle" woman, and when her mother suggested she be presented to society, De Morgan rejoined: "I'll go to the Drawing Room if you like...but if I go, I'll kick the Queen!

[2][3] Through Stanhope, De Morgan also developed friendships with Pre-Raphaelite painters Dante Gabriel Rossetti and William Holman Hunt.

[2] The vast majority of De Morgan’s works, particularly from the mid-1880s onwards, depict content or themes that can be described as broadly spiritualist.