Muse Gallery

A Gallery of Marina’s muses to date, which will be added to as new muses are created.

Georgiana Burne-Jones

Georgiana muse set in a detail of the tapestry, “The Quest for the Holy Grail, The Achievement'”, designed by Edward Burne-Jones.

Drawing of a young Georgiana Burne-Jone, by Marina Elphick, 2018.

Georgiana muse with “King Cophetua and The Beggar Maid”, by Edward Burne-Jones.

Charcoal drawing of Georgiana Burne-Jones, by Marina Elphick 2018.

Georgiana muse in “The Garden Court”, part of ‘The Briar Rose’ series (1874-84) by Edward Burne-Jones.

Completed painting of Georgiana Burne-Jones face.

Georgiana muse set in “Going To The Battle”, an ink drawing by Edward Burne-Jones, 1858.

Georgiana muse as “Vespertina Quies”, set in the painting by Edward Burne-Jones.

Georgiana muse sitting with sisters and friends in “Green summer”, by Edward Burne-Jones.

An imagined scene of the muses, Georgiana Burne-Jones with Jane Morris at the red house.

Georgiana muse set in a detail of a tapestry, designed by Edward Burne-Jones.

Muse of Georgiana Burne-Jones set against an adapted painting of her; the original by her husband Edward Burne-Jones.

Georgiana muse set in “Laus Veneris”, painted by Edward Burne-Jones.

Georgiana muse in the “Wedding Procession of Psyche”, 1895 by Edward Burne-Jones.

Georgiana muse set against a William Morris design pomegranate wallpaper, which furnished the walls at their home Kensington Square.

Wally Neuzil, muse of Egon Schiele

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, 1912

Wally 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, 1910

Wally 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.

Vermeer’s mystery muse, a girl with a pearl earring

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 1658

Early 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.

Jeanne Hébuterne artist and muse of Modigliani

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 Derain

Marina’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.

 Beatrice Flaxman, muse of John William Waterhouse

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.

Lizzie Siddal, Pre-Raphaelite artist and Muse

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, 1864

Lizzie 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.

Click on any image to view muses as a slide show.

Dora Maar, Surrealist artist and muse of Picasso

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 of Leonardo da Vinci

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.

Marie-Thérèse Walter, Picasso’s muse

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’amana,  Gauguin’s Tahitian muse and young wife

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 1896

Muse 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.

Lydia Delectorskaya, Matisse’s muse

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 Kahlo, Mexican artist & her own muse

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”.

Fanny Eaton, a little known Pre-Raphaelite muse

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

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.

Simonetta Vespucci, Botticelli’s muse

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 face

Muse doll of Botticelli’s Primavera hand made by Marina Elphick.

Primavera, Botticelli’s Spring muse made by Marina Elphick

Emilie Flöge, Viennese bohemian and 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.

Effie Gray, Millais’ Pre- Raphaelite muse

Millais’ muse, Euphemia, known as Effie.

Millais’ Muse seated with rose.

Seated Muse, Effie Gray.

Effie Gray, Millais muse and later, his wife.

Back detail of hair, with rose.

Detail of Effie’s painted face.

Pre-Raphaelite style dress hand made in Liberty Tana lawn, William Morris print.

Detail of boots.

Dreaming of love.

Millais’ muse, Effie Gray in Liberty print, William Morris stye dress..

Millais’ Muse Effie.

Effie Gray, Muse of John Everett Millais and wife of John Ruskin.

Bella, Chagall’s wife and artistic muse

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 .