Student Artwork Guide
Copyright This work is in the public domain. Anna Lea Merritt died in 1930; copyright lasts 70 years after the artist’s death, so it ended in 2000.
In context
Eve — Anna Lea Merritt
Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 86 at death.
Painted when the artist was 43. The artist lived to 86. 7 of the 13 dated works by this artist in our catalogue came earlier.
Shaded: the lifetime of Anna Lea Merritt (1844–1930) ▲ this work, 1887 every dated painting, decade by decade
First works: up to 1884 Main working years: 1884–1889 Late works: from 1889
Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them
Pick one work above: name two things it shares with this one, and one thing that's different.
More works to set beside this one: originaluniqueart.com/en/art/similar/anna-lea-merritt-eve-ARCAD9-en/
Measured from the image
Main colour
Clay #946636
Catalogued palette
These colours inside the artist’s whole palette Find other paintings by colour
The ten leading countries
Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.
Together these works take 99.6% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 20 works by this artist, of which 12 were looked at at least once. This painting ranks 9 of them, with 4.5% of that attention. The same counts, month by month
Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.
Artist and museum
Born in Philadelphia, United States of America
Anna Lea Merritt, born in Philadelphia in 1844, embodies a fascinating intersection of American origins and British artistic flourishing. Her life was one of dedicated study, personal tragedy, and ultimately, significant achievement within the Victorian art world. Coming from an affluent Quaker family, she benefited from opportunities for education uncommon for women of her time, initially pursuing studies that even touched upon medicine – a testament to her intellectual curiosity and keen observation of the human form, qualities that would later deeply inform her portraiture. The family’s relocation to Europe in 1865 proved pivotal, exposing Merritt to the artistic currents of the continent and providing access to instruction from esteemed artists like Stefano Ussi, Heinrich Hoffman, Léon Cogniet, and Alphonse Legros. This period was formative, broadening her technical skills and aesthetic sensibilities as she absorbed diverse influences that would shape her unique style. The move to London in 1870, prompted by the shadow of the Franco-Prussian War, marked a decisive shift, setting the stage for her mature artistic career and integration into the British art scene.
Merritt’s personal life was dramatically altered by her marriage in 1877 to Henry Merritt, an accomplished art critic and conservator who became both her mentor and husband. This union, tragically brief – lasting only three months before his untimely death – profoundly impacted her artistic trajectory. The grief she experienced found its most poignant expression in Love Locked Out, a deeply symbolic work created as a memorial to Henry. Depicting Cupid poised before a locked door, the painting speaks of longing and unattainable reunion. Merritt was initially hesitant to allow reproductions of this intensely personal piece, fearing misinterpretations of its delicate symbolism. Despite numerous requests, she guarded its meaning closely, recognizing the vulnerability inherent in sharing such raw emotion through her art. Yet, from this profound loss emerged a renewed dedication to her craft. She resolutely returned to painting, demonstrating remarkable resilience and a commitment to honoring her husband’s memory through continued artistic creation.
Anna Lea Merritt's artistic range was remarkably diverse. While celebrated for her evocative portraits – capturing the likenesses of notable figures like James Russell Lowell and Dr. Oliver Wendell Holmes with sensitivity and skill – she also excelled in landscapes and religious scenes. Her work often reveals a distinct Pre-Raphaelite influence, characterized by meticulous detail, rich symbolism, and a narrative quality that draws the viewer into the scene. This is particularly evident in her ambitious decorative projects, most notably the murals at St. Martin’s Church in Blackheath Village. These depictions of scenes from the life of Christ were executed using an innovative technique – painting on dry plaster with silicone-based paints – designed to combat the damp conditions prevalent in English churches. Beyond these grander undertakings, Merritt explored a unique niche combining floral symbolism with representations of women. These paintings often portray women embodying qualities associated with flowers—grace, beauty, and a certain languor—reflecting emerging feminist perspectives within the artistic landscape of the late 19th century.
Despite her American birth, Anna Lea Merritt achieved considerable recognition in England during her lifetime. She exhibited regularly at prestigious venues like the Royal Academy, establishing herself as a respected artist within the British art establishment. Her most significant achievement came with Love Locked Out, which became the first painting by a woman artist to be acquired for the British national collection through the Chantrey Bequest – a landmark moment in recognizing female artistic talent. Merritt was also a thoughtful commentator on the challenges faced by women artists, acknowledging the societal pressures and the often-unacknowledged support roles played by husbands or family members in enabling their creative pursuits. Her writings offer valuable insights into the realities of navigating a male-dominated art world. Anna Lea Merritt’s career stands as a testament to her talent, perseverance, and contribution to a broader understanding of artistic expression beyond traditional boundaries. She died in 1930, leaving behind a legacy that continues to inspire and resonate with those who appreciate the beauty and depth of her work.
originaluniqueart.com/en/art/download/anna-lea-merritt-eve-ARCAD9-en/
Look closely
Eve — Anna Lea Merritt
Answer in your own words. There are no wrong answers here — only answers you can explain.
Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.
Regarding copyright, "Eve" is in the public domain - its copyright has expired.
The dominant hue of "Eve" by Anna Lea Merritt is golden yellow range. The hue is the underlying tone of the palette.
"Eve" dates from 1887. The date places the work within Anna Lea Merritt's career and its era.