Muse of Marie in ‘A Lady in the Garden, Kelmscott Manor, by Marie Spartali Stillman.Marie muse in Stile Garden 2022.Marie Spartali Stillman Muse as Madonna Pietra degli Scrovigni 1884. My Muse is set in to the original painting by Marie Spartali Stillman.My muse figure of Marie Marie Spartali Stillman on patio, Stile garden.Marie muse in Kelmscott Manor, ‘Front garden’, watercolour and gouache painting by Marie Spartali Stillman.Marie muse with Dante’s Vision of Leah and Rachel 1887, by Marie Spartali Stillman.Muse of Marie Spartali Stillman set in a Victorian glass house.Charcoal drawing inspired by Marie Spartali Stillman’s ‘Madonna Pietra degli Scrovegni’, by Marina Elphick.Muse of Marie Spartali Stillman as ‘Memory’, inspired by Julia Margaret Cameron.Charcoal drawing of Marie Spartali by Marina Elphick 2022.Muse of Marie Spartali Stillman in bluebell garden, Sussex. May 2022.Charcoal drawing of Marie Spartali by Marina Elphick 2022Marie Spartali, watercolour by Marina Elphick 2022.Marie with Jane Morris imagined together at Kelmscott in ‘The Long Walk At Kelmscott Manor’ by Marie Spartali Stillman.Marie Spartali Stillman, coloured pencil drawing by Marina ElphickMarie Spartali portrait by Marina Elphick. Charcoal drawing stage two.Muse of Marie in the garden at Kelmscott Manor. The Long Walk 1904, by Marie Spartali Stillman.Muse of Marie Spartali imagined modelling at Kelmscott House, Hammersmith.Marie Spartali as Mnemosyne, the goddess of Memory, ‘Mother of the Muses’ albumen print by Julia Margaret Cameron, 1868Marie muse in ‘Cherry Orchard in Kent’, a watercolour and gouache painting by Marie Spartali Stillman, 1915.Muse of Marie Spartali Stillman in New York City 1898
Olga Kaira
Miss La La
She was already famous in her own right when she became the subject of one of the art world’s most prized artworks, ‘Miss La La at the Cirque Fernando’, by French Impressionist painter Edgar Degas in 1879.
Miss Lala Muse at the Fernando Circus 1879.Miss La LaCharcoal drawing of Olga Kaira 2021 by Marina ElphickDrawing in charcoal of a young Olga Kaira, by Marina Elphick 2021Charcoal sketch of the young Olga Kaira, by Marina Elphick, 2021.Miss La La Behind The Scenes At The Circus Artwork By Jean Louis Marcel Cosson.Miss Lala muse at the ‘Fernando Circus,’ a detail of the painting by Edgar Degas, 1879.Miss Lala at the Fernando Circus , Edgar Degas, 1879.Miss La La at the Circus in a painting by Marc ChagallMouthpiece similar to the one Miss La La used, belonging to another iron jaw artist, Leona Dares.Muse of Miss La La posing for the press in a detail of Chagall’s “Le Cirque”.Miss La La , soft sculpture by Marina Elphick, 75 cm tall.Miss La La imagined as she is about to climb the rope for her ‘iron jaw’ routine. set against a painting by Mark Chagall, ” Le Cheval de Cirque”.Miss La La at “The Circus” by Suzanne Valadon, 1889.Miss La La in the circus tent. My muse is set in front of a painting “Antique Circus”, by Janine WesselmanAn imagine scene of Miss La La in the circus ring after her performance.Miss La La seen in Georges Seurat’s “Étude pour Parade de cirque”.Sketchbook pages showing first ideas of my Muse’s outfit design.Miss La La standing, soft sculpture by Marina Elphick, 75 cm tall.Lithograph Poster, ‘Miss La La et troupe Kaira’.Miss La La with Philip Astley Circus print.Pencil study of Miss La La, 2021 by Marina ElphickCharcoal sketch of a young Olga Kaira, by Marina Elphick, 2021.
Muse in the Garden detail, Gabriele Münter, 1911.Gabriele muse in Sèvres, France, 1906, painting by Gabriele Munter.Muse of Gabriele in ‘Alley in the Park of St. Claude’, 1906, Gabriele Münter.Muse set against ‘House near Lake Staffel’, 1908 Gabriele Münter.Gabriele Münter muse set in Kandinsky’s, improvisation 30, 1913. Gabriele Münter was a pioneering modern artist who worked alongside Wassily Kandinsky to discover a new expressive method of painting.Gabriele muse in Winding road, 1913, Gabriele Münter.Interior, 1909, Gabriele Münter, with muse by Marina Elphick.Muse in ‘Spring with church, Murnau’, 1924, by Gabriele MünterGabriele muse, May evening in Stockholm Gabriele Münter Painting, 1916.Muse by ‘The House in the winter sun’, 1909 Gabriele Münter.Muse of Gabriele in ‘Alley in the Park of St. Claude’, 1906, Gabriele Münter.Muse in Linderborg, 1908, painting by Gabriele Münter.Gabriele muse in ‘Street in Murnau’, 1908, Gabriele Münter.Muse in Landscape with a yellow house, 1916, Gabriele Münter.Muse imagined walking at Bergwiese, painted by Gabriele Münter in 1912. Staffelsee 1931, by Gabriele Münter, with muse by Marina.Gabriele muse in ‘Main Street on Sunday Murnau’, by Gabriele Münter 1924.Gabriele muse in Winter Landscape in Kochel, painted by Gabriele Münter, 1909.Gabriele muse in Murnau Landscape by Staffelsee, by Gabriele Münter, 1931.Muse in landscape, gouache on paper by Gabriele Münter.Muse of Gabriele in photomontage of the ‘Russian House in Murnau’, 1931, Gabriele MünterMuse of Gabriele against ‘Lake in the Mountains’, 1908, Gabriele Münter.Gabriele muse in Mariaholde at lower gate, painting by Gabriele Münter 1914.Muse in Cornfield at Carantec, France 1905, painting by Alexej von Jawlensky.Watercolour drawing of Gabriele Münter by Marina Elphick. 2020Charcoal drawing of Gabriele Münter by Marina Elphick.Muse of Gabriele in photomontage with, View of the Murnauer Moos, by Gabriele Münter 1908.Muse set in Kandinsky’s, improvisation 30, 1913.Pastel sketch of Gabriele Münter by Marina Elphick, 2020.Muse in Murnau in May, 1924, Gabriele MunterPastel drawing of Gabriele Münter by Marina Elphick, based on Gabriele’s self portrait in oils.Drawing of Gabriele, charcoal. Marina Elphick.Muse of Gabriele placed in a detail of Park of St. Claude, painted by Gabriele Münter.Charcoal study of Gabriel Münter, by Marina Elphick, 2020.Gabriele muse with Composition VII, by Kandinsky, 1913. Soft sculpture in photomontage, Marina Elphick.
Jane muse at Moulin Rouge by Edouard Leon Cortes.Detail of painted face, Jane Avril muse, by Marina Elphick.Watercolour sketch of the young Jeanne Beaudon, Marina Elphick 2020.Muse of Jane Avril at the ‘Dance At The Moulin Rouge’, by Henri de Toulouse-Lautrec.Jane Avril and Boneless Valentin, detail from ‘At the Moulin de la Galette’ by Henri de Toulouse-Lautrec, 1887.Jane Avril muse At the Moulin Rouge 1892, painting by Henri de Toulouse-Lautrec.Muse of Jane dancing, on painted background by William Tom Warrener (1861 – 1934).Pastel drawing of the young Jeanne Beaudon, Marina Elphick 2020.Jane Avril muse outside the ‘Moulin de la Galette’, painted by Vincent Van Gogh, 1886.Muse of Jane Avril after her dance at the Moulin Rouge 1891-92, by Henri de Toulouse-Lautrec.Jane muse at Le Jardin du Bal Bullier, 1898.Jane muse ‘In the Salon of the Rue des Moulins’, 1894, by Henri de Toulouse-Lautrec.Jane Avril muse at Moulin de la Galette by Toulouse-Lautrec, 1889.Drawing of Jeanne Beaudon, by Marina Elphick 2020.Muse of Jane Avril with ‘Boneless Valentin at the Moulin de la Galette’, 1887, painting by Henri de Toulouse-Lautrec.Jane Avril muse at Moulin de la Galette by Toulouse-Lautrec, 1889.Detail of snake on Jane Avril’s dress, by Marina.Making Jane Avril’s snake dress.Detail of stitch on snake, by Marina.Hand and sleeve detail from Jane Avril muse.Preparing Jane’s coiled ringlets to be stitched onto her painted head.Arranging hair for stitching.Face painting of Jane Avril in progress.Jane muse remembering the ‘Quadrille’, a painting by William Tom Warrener, 1890.Watercolour painting portraying the young Jeanne Beaudon, by Marina Elphick 2020Working on Jane Avril’s face from my reference drawing.Sketch of Jane in her snake dress, by Marina Elphick.Creating Jane Avril, workspace with drawings for reference.Soft sculpted muse set in a photomontage by Marina Elphick.Jane muse ‘Au bal du Moulin de a Galette’, by Henri de Toulouse-Lautrec.Jane muse displaying her agility at ‘The Moulin Rouge’, by Charles Conder 1890.Muse of Jane ‘At the Moulin Rouge’ c. 1892, by Henri de Toulouse-Lautrec.Charcoal sketch of Jane Avril, by Marina Elphick.Jane Avril at ‘The Bullier Ball’ by Henri de Toulouse-Lautrec.Pastel Drawing of Jane Avril, Marina Elphick 2020.‘Orchid in a frenzy’, image created on Adobe Photoshop by Marina, inspired by descriptions of Jane Avril’s exotic dance.Drawing of Jane Avril, watercolour resist and pastel, by Marina Elphick, 2020.Jane muse ‘Au Salon de la rue des Moulins’ 1894, by Henri de Toulouse-Lautrec.
Muse of Effie Gray imagined in Glenfinlas, 1853, set against a water colour painted by Millais’ brother, William Henry Millais in 1865.Muse as young ‘Phemy’ at Bowerswell, the family home in Perth.A young Effie at home in Bowerswell, in ‘winter twilight’, a painting by H. Hermans.Effie muse at 163 Denmark Hill, he house that Ruskin’s parents moved to. Watercolour by E.M.B.Warren.Charcoal study of Effie Gray as a young woman. Marina Elphick 2020.Effie in ‘Victorian bedroom’, (imagined at the Inn on her first wedding night.) painting by Mary AlmondMuse of Effie sat on a ridge in ‘The Fringe of the Moor’, a painting by John Everett Millais, 1874.Effie by the fireplace in her new home in Mayfair.Effie in ‘View Near Hampstead’, 1880, by John Everett Millais.Effie imagined in the Parlour at Bowerswell. She is set in the painting by Marie Wilhelmine Falsen, ‘Interior’.Effie Ruskin in the library of the old Ruskin’s home in Denmark Hill. The muse is set in ‘The Library’, a painting by Harriet Backer.Muse of Effie Ruskin visualised with Ruskin at Herne Hill.Effie at the water’s edge of a rushing river in Glenfinlas, 1853. My muse is set against, ‘The Sound of Many Waters’ by John Everett Millais, 1876.Effie exploring the woods at the Trossachs. ‘Mid Spring’, by John William Inchbold, c 1856.Muse of Effie Gray in Glenfinlas, 1853, set against a water colour painted by Millais’ brother, William Henry Millais, 1865.Muse of Effie in Venice, set in J.M.W. Turner’s, ‘The Dogana and San Giorgio Maggiore’, 1834.Effie in St Marks Square, by the Doges palace Venice. Artist unknown.Effie Millais in the reception gallery of her new home in Palace Gate.Effie at ‘The Private View at the Royal Academy’, William Powell Frith, 1881.Effie muse imagined at home in Cromwell road.Effie Ruskin muse at Casa Desdemona, Venice by Antonietta Brandeis, 1867. Photomontage.Effie at ‘Glen Sannox, Isle of Arran, ‘by Thomas Seymour.Effie at home in Bowerswell, Perth. ‘Interior Overlooking the Garden’, by Marie Ducker.Effie by The Grand Canal, Venice, set in a painting by Rubens Santoro.Effie muse as Lady Millais, in a grand reception room at Palace Gate.Effie in Venice, The Ca d’Oro, a painting by Federico del Campo, 1885.
Muse of Fanny with a Sussex downs view, evocative of the landscape near Steyning where she lived as a young girl. Watercolour by Helen Allingham R.W.S. 1848-1926.Fanny imagined as a young girl in the family smithy, in the late 1840’s.Detail of Fanny’s hair clasp.An original charcoal drawing of Fanny Cornforth, by Marina Elphick, 2019.Muse as Sarah Cox, contemplating a different future, with ‘Our English Coasts’, (inscribed, ‘Strayed Sheep’) 1852 by William Holman Hunt .Muse portraying Sarah Cox as a young woman, determined to leave Steyning and seek a better life. ‘Cottage with Figures’ by Helen Allingham.Marina’s muse of Fanny Cornforth, set against an adapted background design from ‘Bocca Baciata’, the painting by Dante Gabriel Rossetti, 1859.Muse of Fanny in Rossetti’s dining room. ‘Interior”, a painting by Thomas Matthews Rooke. ( English, 1842-1942 ).Fanny Cornforth after Rossetti, charcoal drawing by Marina Elphick, 2019.Muse of young Fanny in Dante Gabriel Rossetti’s drawing room at No. 16 Cheyne Walk. Watercolour by Henry Treffry Dunn, 1882.Enjoying her new life, muse of Fanny in, ‘An Evening at Home’, 1888, by Edward John Poynter.Fanny Cornforth on a busy London street in the 1850s.Muse of Fanny in Dante Gabriel Rossetti’s drawing room at No. 16 Cheyne Walk, 1882. Watercolour by Henry Treffry Dunn, a studio assistant to Rossetti..Muse of Fanny Cornforth in Blackman St, ( later, Borough High St) 1885, John Atkinson Grimshaw.Fanny Cornforth muse set against ‘The Blue Bower’ painting by Rossetti, 1865. Oriental blue and white tiles and passion flowers surround her. Mrs Fanny Cornforth imagined, on her way to Rossetti. Set against ‘Old Chelsea’, by John Atkinson Grimshaw, 1893.Fanny Muse in ‘Dante Gabriel Rossetti’s drawing room, with a menagerie of peculiar pets. Watercolour by Henry Treffry Dunn, 1882.Muse of Fanny in the entrance hall of 16 Cheyne Walk, with Rossetti’s favourite pet wombat peeping to see who’s at the door.Fanny Cornforth muse imagined in the garden of Rossetti’s Chelsea home, 16 Cheyne Walk.Marina’s muse of Fanny Cornforth in her garden in Sussex.Muse of Fanny seated in an interior hallway.Detail of Fanny’s hair clasp, re-envisaged in Fimo clay.Fanny imagined as Mrs Schott, outside The Rose and Crown Tavern. The painting, ‘After the Shower’ by Atkinson Grimshaw, provides a suitably sombre scene for Fanny’s rejection and eviction from Rossetti’s Cheyne Walk home. Painted in 1880.Fanny in Rossetti’s drawing room, 1882, by Henry Treffry Dunn.Fanny Cornforth muse set against ‘The Blue Bower’ painting by Rossetti, 1865.
Bella Muse in adapted version of “Bouquet with Flying Lovers”, the original by Marc Chagall, 1934-1947Bella imagined by the house, in ‘The Pot of Earth and the Pot of Iron’, 1937, Marc Chagall, gouache on paper. Bella by ‘The Blue House’, 1917, by Marc Chagall.Bella muse as ‘Lover in a Bouquet of flowers’, original by Marc Chagall.Bella muse in ‘Adam and Eve’, by Marc Chagall.Bella muse in front of ‘Le village bleu’, by Marc Chagall, 1967.Bella in ‘L’air bleu’, by Marc Chagall 1937.Muse of Bella by ‘Window with View on The Island of Bréhat’, by Marc Chagall, 1924.Muse of Bella as bride standing in the garden.Bella in detail from ‘Fleurs dans un vase bleu’, by Marc Chagall 1936.Bella seated in the garden.Bella Muse in Les Tulipes Mauves, 1928, Chagall.Bella muse flying as if in a dream, in ‘Paris through the Window’, a painting by Marc Chagall, 1913.Muse of Bella as Marc’s bride, against ‘Lovers in a Bouquet of Flowers’, Marc Chagall 1976.Bella muse in ‘La Materia Onirica’, ( subject of Dreams ), 1963, Marc Chagall.Bella muse in ‘Inspiration’, by Chagall.Bella in ‘The Bouquet by the window’, Marc Chagall, 1959-60. Bella muse, Chagall’s wife and eternal love and inspiration, made by Marina Elphick in soft sculpted form, as one of Marina’s muses. Bella Chagall muse against a detail of ‘Lovers in a bouquet’, by Marc Chagall.Bella muse in ‘Notte’, Marc Chagall.Bella Chagall muse seated with flowers.Bella muse in ‘Le Rêve de Chagall sur Vitebsk’ (1950-53), Marc Chagall.
Georgiana muse set in “Laus Veneris”, painted by Edward Burne-Jones.Drawing of a young Georgiana Burne-Jone, by Marina Elphick, 2018.Muse of Georgiana Burne-Jones set against an adapted painting of her; the original by her husband Edward Burne-Jones.Georgiana muse set in “Going To The Battle”, an ink drawing by Edward Burne-Jones, 1858.Charcoal drawing of Georgiana Burne-Jones, by Marina Elphick 2018.Completed painting of Georgiana Burne-Jones face.Georgiana muse in “The Garden Court”, part of ‘The Briar Rose’ series (1874-84) by Edward Burne-Jones.Georgiana muse set against a William Morris design pomegranate wallpaper, which furnished the walls at their home Kensington Square. Georgiana muse set in a detail of a tapestry, designed by Edward Burne-Jones.Georgiana muse in the “Wedding Procession of Psyche”, 1895 by Edward Burne-Jones.An imagined scene of the muses, Georgiana Burne-Jones with Jane Morris at the red house.Georgiana muse sitting with sisters and friends in “Green summer”, by Edward Burne-Jones.Georgiana Burne-Jones muse, wife and mother, set in a painting by husband, Edward Burne-Jones, 1883.Georgiana muse as a young woman, set in a detail of the tapestry, “The Quest for the Holy Grail, The Achievement'”, designed by Edward Burne-Jones.Georgiana muse with “King Cophetua and The Beggar Maid”, by Edward Burne-Jones.Georgiana muse as “Vespertina Quies”, set in the painting by Edward Burne-Jones.Various images of Georgiana muse set in paintings and tapestries by her husband Edward.
Walburga Neuzil muse in the landscape “Four Trees” by Egon Schiele. This painting inspired me to hand paint the fabric of Wally’s outfit.Drawing of Wally by Marina Elphick, using photographic reference and portraits by Egon Schiele. Painted head of Wally Neuzil, designed by Marina Elphick.Wally detail from ‘Woman in orange stockings’.Muse of Wally Neuzil in “Bedroom at Neulengbach”, painting by Egon Schiele.Wally muse by ‘Setting Sun’, painted by Egon Schiele, 1913.Wally after posing for ‘Death and the Maiden’, by Egon Schiele 1915-16.My muse, Walburga Neuzil, or Wally as she was known to her family and friends. She was inspired by Egon Schiele’s paintings and drawings of her.Wally muse in River Landscape, 1913 by Egon Schiele.Portrait of Wally Neuzil 1912, by Egon Schiele, with Wally muse.Wally Neuzil by ‘House with Drying Laundry’ Egon Schiele, 1917.Muse, Wally Neuzil at ‘The Old City’, painted by Egon Schiele, 1912.Wally muse imagined in the Garden at Krumau, set against ‘Field of Flowers’ a painting by Egon Schiele in 1910.Muse of Wally Neuzil on a garden bench. Designed and created by Marina Elphick.Muse of Wally in ‘Autumn Sun and Trees’, by Egon Schiele, 1912Wally at Krumau, set against Egon Schiele’s painting of ‘Landscape at Krumau’, 1916.Wally muse portrait against the painting of ‘Town on the Blue River’, by Egon Schiele, 1910Wally imagined posing for Schiele with another model in ‘Woman Lying down’, Egon Schiele 1917.Marina with her muse, Wally Neuzil.Walburga Neuzil, or Wally as she was known . Muse designed, sculpted, modelled and painted by Marina Elphick.
Girl with a Pearl earring muse with “Woman writing a letter with her maid”, by Johannes Vermeer, 1673.‘Girl with a Pearl Earring’ muse in Vermeer’s painting “View Of Houses In Delft”. 1657-58.Marina’s muse of ‘Girl with a Pearl earring’ set in Vermeer’s painting of “Girl interrupted at her music”. Painted in 1660-61.The imagined Maria Vermeer in her father’s studio while he was painting, “The Art of Painting or The Allegory of Painting”. It is possible that either she or her younger sister Elizabeth modelled for this painting. Johannes Vermeer c. 1666–68.Muse representing Catharina, Vermeer’s young wife. she is set into the painting of “A Lady at the Virginal with a Gentleman”, painted by her husband Vermeer in 1662-5.Preparatory sketch for ‘Girl with a Pearl Earring’ muse, pencil on paper by Marina Elphick. It is useful to get to know the face by drawing before I work in colour on a three dimensional surface.Maria Vermeer muse set in a “Courtyard of a House in Delft”, 1658, a painting by Pieter de Hooch, who was a contemporary of Vermeer.Girl in blue without her turban, muse detail, by Marina Elphick.Here I have placed both versions of my muse in a typically Dutch interior, a painting by Pieter de Hooch, a fellow Delft artist and contemporary. ‘Cardplayers in a Sunlit Room’, Pieter de Hooch 1658Early stages of painting the face and experimenting with silk scarf to make her turban.Marina’s muse of ‘Girl with a Pearl earring’ set in Vermeer’s painting of that title. “Girl with a Pearl Earring “, Johannes Vermeer 1665.Girl with a pearl earring muse imagined as the maid Griet, set in Pieter de Hooch’s painting of a “Woman and Maid in a Courtyard”, 1660.Girl Pearl Earring muse against blue Danube fabric. Hand made and painted by Marina Elphick.Maria Vermeer muse with the painting by her father ‘The Glass Of Wine’, (1658-60) by Johannes Vermeer.Marina’s muse of ‘Girl with a Pearl earring’ set in Vermeer’s painting of “Girl interrupted at her music”. Johannes Vermeer 1661.Preparatory sketch for ‘Girl with a Pearl Earring’ muse, pencil on paper by Marina Elphick. It is useful to get to know the face by drawing before I work in colour on a three dimensional surface.
Muse as Modigliani’s “Jeanne Hébuterne with Necklace”. Jeanne was Modigliani’s true love, muse and inspiration for the latter part of his life.Muse seated with painting, “Landscape, Southern France, 1919” by Amedeo Modigliani.Jeanne muse in Veduta di Cagnes, by Chaim Soutine 1919. Soutine was a friend and artist, who travelled to Nice with Modigliani and Jeanne in 1918-19.Jeanne muse as ‘Woman with Blue Eyes’ by Amedeo Modigliani.Jeanne muse in ‘Landscape, Southern France’, 1919, by Amedeo Modigliani.Jeanne muse set in “La passe, Arbres et maisons”, Modigliani, 1918.Jeanne Hébuterne muse within the painting of “Portrait of a Woman with Hat” by Amedeo Modigliani.Jeanne muse in her home setting( probably her parent’s house) within a painting byJeanne Hébuterne.Jeanne Hébuterne muse against background from the painting “Little girl in blue”, 1918 by Amedeo Modigliani.Muse of Jeanne set in a ‘Portrait of Jeanne Hébuterne Seated’ by Amedeo Modigliani.Muse in Courtyard, a painting by Jeanne Hébuterne.Jeanne Muse in Chaim Soutine’s painting, “Maison Blanche”.Jeanne Hébuterne muse in ‘Paysage à Cagnes’ a painting by André DerainMarina’s muse as the young Jeanne Hébuterne. Jeanne muse with “Cypress Trees and Houses, Midday” by Modigliani.Jeanne muse in “Cagnes Landscape”, 1919 by Amedeo Modigliani.Jeanne muse as ‘Woman with Blue Eyes’ by Amedeo Modigliani.
J.W.Waterhouse muse as Lady of Shalott, “I am half sick of Shadows”.J.W.Waterhouse muse in my adaption of “Gather Ye Rosebuds While Ye May”. The original painting by J.W.Waterhouse has been changed slightly to accommodate my muse.Muse as Lady of Shalott about to meet her fate, set against a painting by Waterhouse.J.W.Waterhouse muse, Beatrice Flaxman as Lady of Shalott, “I am half sick of Shadows”. Made by Marina Elphick.Muse listening to the tales of The Decameron, by JW Waterhouse.Lady of Shalott with memories of love, imagining an encounter with Sir Lancelot.Waterhouse muse picking anemones in a woody Landscape.J.W. Waterhouse model Beatrice Flaxman inspired this muse, she is set in the artist’s studio.Lady of Shalott muse,”She loos’d the chain, and down she lay; The broad stream bore her far away,
The Lady of Shalott.Lady of Shalott muse imagined before she is cursed and imprisoned.Waterhouse muse in an uncompleted landscape by John William Waterhouse. Dreaming of Camelot, the Lady of Shalott. Muse by Marina.Lady of Shalott muse in her tower.
Muse of Lizzie Siddal as ‘Ophelia’, in the moments before her suicide by drowning. Here I have set her in a detail of Millais’ painting of 1851. The original is shown below.Lizzie Siddal muse, dressed as Ophelia, by Marina Elphick. Lizzie muse in “Dante’s Dream at the Time of the Death of Beatrice”, by Rossetti, 1856.Lizzie muse in Rossetti’s painting of her as Beata Beatrix, poet Dante Alighieri’s tragic heroine. Here the red dove symbolises love and the white poppy represents opium, the source of laudanum and Lizzie’s undoing.
It is a poignant portrayal of Lizzie, the original by Rossetti, can be seen at the end of her story, where it belongs chronologically. Lizzie with “Paolo et Francesca”, by Rossetti, 1855 based on a tragic adulterous story by Dante Alighieri in his Divine Comedy. The original painting had been commissioned by Ruskin.Lizzie visualized in the milliner’s shop where she worked. Lizzie muse by Marina.Lizzie muse as Ophelia, on her walk to the river.Lizzie with the Ladies of The Blue Closet, Rossetti 1856.Lizzie muse in “The Spring Wood”, by John Collier. Collier (1850-1934) was painter of the later Pre-Raphaelite period.Lizzie muse in an imagined scene, numbed by sadness after the stillbirth of her daughter.Lizzie muse as Ophelia, imagined just before she enters the water, in a painting by John Atkinson Grimshaw (1836 – 1893).Lizzie muse as Ophelia, “Her clothes spread wide, and, mermaid-like, awhile they bore her up.” (Hamlet, William Shakespeare.)Lizzie in Rossetti’s, ‘The Tune of the Seven Towers’ 1857. Muse looks on.Lizzie with ‘The first madness of Ophelia’ by Dante Gabriel Rossetti, 1864Lizzie Siddal muse as Beata-Beatrix, Rossetti’s famous painting of Elizabeth Siddal.Lizzie as Ophelia, “Which time she chanted snatches of old tunes,
As one incapable of her own distress”. Hamlet. “But long it could not be
Till that her garments, heavy with their drink, Pull’d the poor wretch from her melodious lay
To muddy death.” Hamlet.
Dora Maar muse with Picasso’s epic painting Guernica, exhibited at Paris International Exposition in 1937. Dora Maar, Picasso’s muse and lover, photographed the painting in progress. Dora muse with “Portrait de Femme”, 1942, Picasso.Marina’s muse Dora is set in “Dora Maar in Armchair” painted by Picasso in 1939.Dora Maar muse with Picasso’s “Matador.”Muse, Dora Maar with the painting that inspired her, “Bust of a Woman “, 1938, by Pablo Picasso.Dora Maar muse in ” Maisonette dans un jardin” by Picasso 1908.Muse, Dora Maar set in Picasso’s painting, “Studio in California”, 1956.Marina’s muse of Dora Maar in front of Picasso’s painting, “Mandelin et Guitare”.Dora Maar with Cubist person, by Picasso 1917.Dora Maar muse with “Les Femmes d’ Alger”, by Picasso 1955; colour adjusted by Marina.Dora Maar muse set in Picasso’s painting, ” La Rue des Bois”, 1908.Detail of Dora Maar muse in ” Maisonette dans un jardin” by Picasso 1908. Dora Maar was a renowned Surrealist photographer and artist herself.Dora Maar muse, side head detail.“Painter and his model in a Landscape,” 1953 by Picasso, with Dora Maar muse facing outward.Dora Muse with Le baiser by Picasso.Dora and ‘The Muse’, 1935 by Picasso. Dora Maar was a talented photographer and artist herself.Muse, Dora Maar in Picasso’s studio, photograph by André Villers.Dora Maar muse with “The Three Dancers,” by Pablo Picasso, 1925. Dora muse, The artist with his model by Picasso, 1963. Dora Maar muse in Frosty lane. Inspired by Picasso, created by Marina Elphick and photographed near her home in Sussex.
Mona Lisa muse in “Landscape at Baiae, Bay of Naples, Italy” by Herman van Swanevelt.Mona Lisa muse which has been placed in a Photoshop collage of Leonardo da Vinci’s painting of Mona Lisa.Mona Lisa muse overlooking Florence,in a painting by an unknown artist, 1500s. She is standing in a rural area outside the city which would 70 years later become the famous Boboli Gardens.Mona Lisa muse in a Pastoral Landscape by Claude Lorrain. Mona muse in “Landscape With a Calm,” by Nicolas Poussin. Mona Lisa muse near Ponte Molle, Rome in a pastoral landscape by Claude Lorrain.Mona Lisa muse resting in Italianate Landscape, by Jan Both.Mona Lisa muse at The Arch of Constantine, Rome, painted by by Herman van Swanevelt, 1600-1665.Mona Lisa muse seated in Italian Landscape with bridge, painted by Herman van Swanevelt. Mona Lisa with batik “Leonardo style” Italian landscape, by Marina Elphick.Mona Lisa muse set against a painting by Italian master Giorgione,” The Tempest” 1506.Mona Lisa muse, by Marina Elphick, with a Nicolas Poussin painting, “Ideal landscape” 1648-50.Mona Lisa batik by Marina , completed many years ago and stolen from an exhibition in Berkshire.Mona Lisa Muse promenading in “Italian Landscape with bridge”, painted by Herman van Swanevelt.Marina with her Mona Lisa muse.Mona Lisa muse with merchants at the water’s edge, in a Claude Lorrain Landscape.Mona Lisa muse standing against a white background. Hand sculpted in textiles by Marina Elphick.Mona Lisa muse in Montefeltro landscape, the region which can be seen behind Mona Lisa in Leonardo da Vinci’s famous painting.Detail of Mona Lisa muse with batik “Leonardo style” Italian landscape, by Marina Elphick. Detail of face, Mona Lisa muse in an ‘Ideal landscape’, by Nicolas Poussin 1645.
My muse Marie-Thérèse, set against Picasso’s ” Dejeuner sur l’herbe”. Marie-Thérèse muse, seated in front of Picasso’s painting of her, “Femme avec Livre” ,1932.Marie-Thérèse muse in Picasso’s studio. Hand made in silk and cotton by Marina Elphick.Art Muse Marie-Thérèse, set against Picasso’s Mougins Landscape. Marie-Thérèse muse, seated in front of Picasso’s painting. Marie-Thérèse muse with “Painter and his Model”, 1963 by Pablo Picasso.Marie-Thérèse muse with “small house in the garden”, 1908 Picasso.Marie-Thérèse muse in Provence. Painting by Picasso, 1965.Marie-Thérèse muse detail, right side of face.Art Muse Marie-Thérèse, set in ” Large still Life in Blue” 1931, Picasso.Marina’s art muse Marie-Thérèse, set
“a L’Atelier” 1955, Picasso.Marie-Thérèse muse detail, left side of face.Marie-Thérèse muse with the Pigeons, Cannes. Painting by Picasso, 1957.Marie-Thérèse muse in a Mediterranean Landscape, a painting by Picasso.
Teha’mana, Gauguin’s muse with fisherwomen in “I Raro te Oviri” by Paul Gauguin 1891.Teha’mana on a road in Tahiti, Gauguin 1891.Teha’amana with other vahines in Gauguin’s Nave Nave Moe.Teha’mana in Landscape with Peacocks or “Matamoe”, by Paul Gauguin.Teha’amana with other young women, in Gauguin’s painting Arearea.Teha’amana Gauguin’s muse in Tahiti beach. Teha’amana in “Tahitian Women under the Palms”, Paul Gauguin, 1892.Teha’amana resting, as she walks up into the mountains to collect bananas and bread fruit.
Tahitian Landscape by Paul Gauguin.Marina’s muse Teha’mana in “Rupe Rupe” or Fruit Gathering, by Paul Gauguin 1899.Teha’amana muse in “Nave Nave Mahana” or Delightful days, painted by Paul Gauguin in 1896Muse with Taperaa Mahana, by Paul Gauguin.Teha’amana in Mata Mua painting by Gauguin.Teha’amana ‘Gauguin’s first muse, in Tahitian landscape.Teha’amana in front of the painting by Gauguin, “The Call”, 1902.Teha’amana, Gauguin’s muse, made by Marina.
Matisse muse in ‘Gran Interior en Rojo’, Henri Matisse.Cropped view of, “The Dessert: Harmony in Red,” with Lydia muse in her coat.Matisse muse, made by Marina, with “Seville still Life”, 1910 by Henri Matisse.Matisse muse, inspired by his paintings, seated with multi coloured coat.Lydia muse in front of ‘Gran Interior en Rojo’, by Henri Matisse 1948 .Muse standing against ” The Blue Window”, by Henri Matisse 1912.Muse in “Interior with Aubergines” by H. Matisse, 1911.Matisse muse, made by Marina Elphick, with “The Joy of Life”, a painting by Henri Matisse.Matisse muse Lydia set in ” Moroccan Landscape” 1913, a painting by Henri Matisse.Matisse muse in ‘Gran Interior en Rojo’, by Henri Matisse 1948.Muse seated by “Open Window Collioure”,
by Henri Matisse, 1905.The Dessert: Harmony in Red, 1908 by Henri Matisse. My muse stands comfortably in this red room.
Frida muse against monkey and black cat detail from Kahlo’s “self portrait with necklace of thorns”.Frida muse with “The wounded Deer”, 1946.Detail of Frida’s face and hair.Muse of Frida in the garden of the Casa Azul.Frida muse wearing Tehuana style costume, in her garden at the Casa Azul, the Blue House.Frida Kahlo art muse by Marina Elphick. Frida is wearing a traditional Tehuana style dress.Frida muse with Frida Kahlo’s “Sun and Life “, 1947.Frida muse detail of face at an angle.Frida muse with her “self portrait along the border between Mexico and the USA”.Frida seated in front of a blue wall outside the Casa Azul.Detail of Frida’s glass beads and earrings.Frida muse seated with lace shawl.Painted corset detail on Frida muse’s torso, a copy of one of Frida Kahlo’s hand painted plaster corsets that she regularly wore.Muse of Frida amongst fan palms in her garden.Frida Muse outside the Blue House.Frida muse at Casa Azul, her home in Coyoacán, Mexico.Frida with “The Love Embrace of the Universe, the Earth, Myself, Diego and Senor Xolot”.
Watercolour by Henry Treffry Dunn, who was Rossetti’s studio assistant for a time, gives us an intimate peep into Rossetti’s Cheyne Walk Parlour. Fanny Eaton gazes at all the paintings and ornaments.
The painting depicts Rossetti and Theodore Watts-Dunton seated in the Parlour.Fanny Eaton Muse by the ivy tree, hand made by Marina.Fanny Eaton muse by Marina Elphick.Dining room scene with Fanny Eaton muse seated.Detail showing Fanny’s painted face.Fanny seated in her bedroom.Seated muse, inspired by the Pre- Raphaelite model Fanny Eaton.Fanny Eaton muse in drawing room.Fanny Eaton muse in garden setting, inspired by the Pre- Raphaelite model Fanny Eaton.Fanny at 16 Cheyne Walk, the London home of Rossetti, where she modelled for him.Fanny Eaton muse in an imagined scene attending the Royal Academy when “The Mother of Moses” painting was exhibited at the Royal Academy in 1860.
Jane Morris
Pre-Raphaelite muse, designer embroiderer, textile artist and mother
Jane muse with William Morris design wall paper, made by Marina Elphick..Jane in red house reception room displaying Arts and Crafts furniture and decoration.Jane Morris muse in her bedroom, Kelmscott Manor. The embroidery was her own and her daughter, May’s handiwork.Jane Muse in The Green Dining Room by William Morris at the Victoria and Albert Museum.Kelmscott Manor, the home in which Jane and Rossetti liaised.Close up of Jane’s painted face.Jane Morris muse in garden.Jane muse in blue silk dress, seated in garden, Jane Morris by lake side. Hand sewn and painted by Marina.Rossetti’s muse Jane Morris by lake side. Hand sewn, stitched and painted by Marina.Jane Morris muse with William Morris design wall paper.Jane in the Garden of the Red House, designed by Philip Webb and William Morris.
Primavera in the bluebells, Spring muse by Marina.Primavera muse with crocus.Primavera muse inspired by Botticelli’s paintings of Simonetta Vespucci.Seated Primavera muse doll by Marina Elphick.Primavera hair style.Primavera muse with Liberty tana lawn dress.Hair detail of Primavera muse.Primavera hair style.Detail of dress neckline.Marina’s muse, Primavera.Primavera muse inspired by Botticelli’s painting of the same name.Detail of face and hair.Spring muse amongst crocus.Detail of hands and lace sleeves.Primavera faceMuse doll of Botticelli’s Primavera hand made by Marina Elphick.Primavera, Botticelli’s Spring muse made by Marina Elphick
Emilie Flöge
Viennese bohemian, designer and Gustave Klimt’s muse
Emilie Muse with batik silk by Marina Elphick.Emilie Flöge in silk dress, hand drawn, batiked and hand sewn by Marina.Batik on silk after final dye and de-wax, by Marina.Seated Klimt muse, Emilie.Emilie Flöge by lavender bush.Batik on Silk, to be used to make the dress of Emillie Flöge. Final waxing needed.Detail of Emilie Flöge, Klimt’s muse and life long partner.Emilie Flöge Klimt’s muse and life long partner. Klimt’s muse, Emilie Flöge.Detail of Emilie’s hands.Emilie Flöge head detail.Emilie Flöge by apple tree.Batik on Silk after first dye, and second waxing of blue areas.Klimt’s muse and partner, Emilie Flöge inspired this muse doll.Batik on Silk after third dye,(yellow) and the start of the final waxing, top of picture.Batik on Silk after second dye,(pink) and third waxing of lilac areas.Emilie Flöge, Klimt muse doll by lavender.
Detail of Bella.Bella, Chagall’s muse.Detail of Bella’s painted face.Bella, back lit, displaying her veil.Completed Bella art doll.Detail of dress sleeves and bouquet. Chagall bride.Completed Chagall bride Muse.Shoe detail of Chagall bride. Painted and stitched.Bella, bride Muse inspired by Chagall.Chagall Muse , art doll by Marina Elphick .
Marina’s muses, Dora Maar, Marie Therese Walter, Jane Morris, Frida Kahlo, Bella Chagall, Simonetta Vespucci, Lizzie Siddal, Mona Lisa, Lydia Delectorskaya, Teha’amana, Beatrice Flaxman, Fanny Eaton, Emilie Flöge and Effie Gray, with more on their way.
I look forward to following your work, Marina —very compelling mixture of discipline, flamboyance and romance [a combination that’s pretty difficult to criticize] .
Very clever series —you picked all the right muses [well, you might have thrown in Camille Claudel —but perhaps you were restricting yourself to women who inspired painters]. In any event, your work is magical. Thank you so much for sharing it.
Thank you Michael, I have many more muses I wish to research and add to my collection. I am aware of Camille Claude and she is someone I’d like to study in future. Your feedback is welcome, I am grateful it is so positive.
marina's muses 
I look forward to following your work, Marina —very compelling mixture of discipline, flamboyance and romance [a combination that’s pretty difficult to criticize] .
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You made my day. Such beauty in a world too often ugly.
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Very clever series —you picked all the right muses [well, you might have thrown in Camille Claudel —but perhaps you were restricting yourself to women who inspired painters]. In any event, your work is magical. Thank you so much for sharing it.
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Thank you Michael, I have many more muses I wish to research and add to my collection. I am aware of Camille Claude and she is someone I’d like to study in future. Your feedback is welcome, I am grateful it is so positive.
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Marina..its lovely to see how far your artistic talent can reach…I love them all…
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