Marie Spartali Stillman

Biography

Marie Stillman (née Spartali; Greek: Μαρία Σπαρτάλη; 10 March 1844 – 6 March 1927) was a British painter. A member of the second generation of the Pre-Raphaelite Brotherhood, she is regarded as the greatest female artist of that movement. She had one of the longest-running careers of the Pre-Raphaelites, spanning sixty years and producing over one hundred and fifty works, including Love's Messenger and romantic scenes from the Divine Comedy. Though her work with the Brotherhood began as a model, she trained and became a painter, earning praise from Dante Gabriel Rossetti and others.

== Early life == Spartali was the eldest child of Michael Spartali, a wealthy merchant, principal of the firm Spartali & Co and Greek consul-general based in London from 1866 to 1879. Michael had moved to London around 1828, where he married Euphrosyne Varsini, the daughter of a Greek merchant from Genoa. Spartali was of Greek descent. The family split time between their home at Clapham Common in London and their country home on the Isle of Wight. In the city, Spartali's father was fond of lavish garden parties where he invited up and coming writers and artists. It was at one such event where Marie would first be introduced to the art world.

== Marriage and death == In 1870, Spartali met American journalist and painter William J. Stillman. The couple had previously posed for Rossetti in his famous Dante pictures, though it is not certain if that is how they first met. Interestingly, although her husband was an artist himself, Marie never sat for him as a model. The pair married in 1871 against her father's wishes, causing a rift that would never fully heal. As her husband was a foreign correspondent for The Times, the couple divided their time between London and Florence (1878–83), and later Rome (1889–96). The couple had three children of their own who were raised alongside William's other three children from a previous marriage. Marie Stillman died in March 1927 in Ashburn Place in South Kensington, four days shy of her 83rd birthday, and was cremated at Brookwood Cemetery, near Woking, Surrey. She is interred there with her husband.

== Art and career ==

=== Introduction to the Art World === Known for their Greek heritage and beauty, Spartali along with her cousins, Maria Zambaco and Aglaia Coronio, were known collectively among friends as "the Three Graces," after the Charites of Greek mythology (Aglaia, Euphrosyne and Thalia). Marie was very tall, and cut an imposing figure—in her later years dressing entirely in black and purposefully attracting much attention throughout her life. In the house of the Greek businessman A.C. Ionides at Tulse Hill, in south London, Marie first met the artist James McNeill Whistler and playwright Algernon Charles Swinburne. The meeting made quite the impression, for Swinburne was reported to have said that "She is so beautiful that I want to sit down and cry". Her equally striking sister Christina Spartali was the model for Whistler's painting The Princess from the Land of Porcelain (1863–1865).

=== The Pre-Raphaelites === In 1864, Whistler introduced Spartali to the Pre-Raphaelite artist Dante Gabriel Rossetti. She began sitting for him and when Spartali expressed interest in learning to paint he referred her to Ford Madox Brown. Over the next five years the pair developed a close, almost familial, relationship. Of his models, Brown said that Spartali was "the most intellectual", and maintained a deep respect for her work, chronicled in their correspondence. By 1870, Spartali had decided to pursue art professionally and with the help of her mentor made her first sale for 40 guineas. Example of modeling works: Brown; Burne-Jones (The Mill); Julia Margaret Cameron; Rossetti (A Vision of Fiammetta, Dante's Dream at the Time of the Death of Beatrice, The Bower Meadow); and Spencer Stanhope.

=== Style === Because of her close links to the Brotherhood, Marie Stillman is often identified as part of the second generation of the movement. According to Henry James, "She inherited the traditions and the temper of the original PRs...but she has come into her heritage by virtue or natural relationship. She is a spontaneous, sincere, naive Pre-Raphaelite". There is, however, some academic debate as to whether this is entirely accurate. For example, Robert de la Sizeranne of Le Correspondant noted that this new generation of Pre-Raphaelites, Marie Stillman among them, had enough in common with the Symbolists to be considered one. Marie Spartali Stillman, could be considered a candidate for Symbolism because her figures "... have an immobility, a silence, a pose almost suspended, a slow hesitation in their rare movements, which make them resemble something like sleepwalkers". Rossetti himself credited Spartali for her ability to infuse her figures with emotion, thereby elevating them to something more than mere images.

==== Other influences and career impacts ====