The Muses Behind the Masterpieces: Unveiling the Legacy of Elizabeth Siddal, Victorine Meurent, Emilie Louise Flöge, and Dora Maar

by Olivia Feather-Moore

Throughout the annals of art history, the muses of famous European artists have captivated the imagination, their faces immortalized on canvas for centuries. Yet, behind these enigmatic visages lies a stark reality: for many of these muses, their lives remain shrouded in obscurity, their voices silenced by the passage of time. Elizabeth Siddal, Victorine Meurent, Emilie Louise Flöge, and Dora Maar are just a few examples of women who served as muses to renowned artists, yet their stories are often overshadowed by the fame of their male counterparts. While these four women are frequently discussed in the context of artistic inspiration, it's essential to acknowledge other notable figures such as Kiki de Montparnasse, Gala Diakonova, Saskia van Uylenburgh, and Edith Harms. However, delving into the lives of these women reveals a frustrating trend: discussions tend to focus solely on their relationships with the men in their lives or their physical appearance, rather than their own experiences and contributions. This article endeavours to initiate the untangling of the intricate knot of genius, unveiling the unexplored threads of women's stories and potential. It delves into the introspective depths often disregarded and exploited by the so-called geniuses who painted these women, leaving us with the familiar images of these women that we see frequently but know so little about today. 

Sir John Everett Millais, Ophelia, 1851-52, oil on canvas, 762 x 1118 mm (Tate Britain, London)

  Elizabeth Siddal (1829-1862), immortalized in John Everett Millais' Ophelia (1851-2) (fig. 1) and Dante Gabriel Rossetti's Found (1854-9), was more than just a pretty face adorning Pre-Raphaelite canvases. Beyond her ethereal beauty, Siddal possessed a keen intellect and a fierce independence that set her apart from her contemporaries. Described as intelligent, introspective, and fiercely independent, Siddal had a passion for literature and poetry that rivalled her male counterparts. She penned verses such as "Dead Love," a poignant exploration of heartbreak and loss, revealing her depth of emotion and keen observation of the human condition. Siddal's artistic talent was not confined to the realm of poetry; her self-portraits, such as the haunting Self-Portrait (fig. 2) from the mid-nineteenth century, showcase her skill as a painter and her ability to capture her own likeness with sensitivity and insight. 

Elizabeth Siddal, Self-Portrait, 1853-1854, Oil on canvas, 9-inch circle (Private collection)

Édouard Manet, Olympia, 1863, oil on canvas, 130 x 190 cm (Musée d’Orsay, Paris)

 Victorine Meurent (1844-1927), immortalized in Édouard Manet's Olympia (1863) (fig. 3) and The Luncheon on the Grass (1863), was a captivating figure in nineteenth-century Parisian art circles. Born into a working-class family, Meurent defied societal expectations to pursue a career as an artist and model. Beyond her role as a muse, Meurent exhibited her paintings at the Paris Salon, showcasing her talent and ambition as a painter in her own right. For example, Le Jour Des Rameaux or Palm Sunday (fig. 4) at some point during the 1880s, now housed at Musée Municipal d'Art et d'Histoire de Colombes and her Self-portrait, from 1876, situated at Boston Museum of Fine Arts. Her work seamlessly blends elements of photography with an Impressionist painting style. In her self-portrait, she radiates a fierce and direct quality, engaging the viewer in what feels almost confrontational. Described as independent, spirited, and unapologetically herself, Meurent navigated the male-dominated art world with confidence and determination, leaving an indelible mark on the Impressionist movement that deserves far more research. 

Victorine Meurent, Le Jour Des Rameaux, 1880s, Oil on canvas, (Municipal Museum of Art and History, Colombes)

Gustav Klimt, Portrait of Emilie Flöge, 1902, Oil on canvas, 178 x 80 cm (Österreichische Galerie Belvedere, Vienna)

  Emilie Louise Flöge (1874-1952), closely associated with Gustav Klimt, is believed to have inspired some of his most iconic works, such as The Kiss (1907-8). Flöge's modern sense of fashion and avant-garde style likely influenced Klimt's portrayal of women in his paintings, though concrete evidence remains elusive. Beyond her role as a muse, Flöge was a pioneering figure in the world of fashion, rejecting the restrictive corsets of the Victorian era in favor of more comfortable and liberated garments (fig. 5). Her progressive views on fashion and design are represented in Klimt’s work such as Portrait of Emilie Flöge (1902) (fig. 6) and earned her a reputation as a tastemaker and trendsetter in fin-de-siècle Vienna, challenging traditional notions of femininity and beauty. 

Emilie Flöge, courtesy of Elle Decor

Pablo Picasso, Weeping Woman, 1937, Oil on canvas, 61 cm × 50 cm (Tate Modern, London)

Dora Maar (1907-1997), immortalized in Pablo Picasso's Weeping Woman (1937) (fig. 7), was a multifaceted artist in her own right, known for her work as a photographer, painter, and poet. Beyond her collaboration with Picasso, Maar's photography captured the surreal and experimental spirit of the Surrealist movement, earning her recognition among her peers. Some of her seminal works include, Portrait of Ubu (1936), Untitled (Hand-Shell) (1934) (fig. 8) and The years lie in wait for You (1935). Despite the challenges she faced in her personal life, including Picasso's infidelity and her own struggles with mental health, Maar continued to create art that pushed the boundaries of convention and explored the depths of human emotion. 

Dora Maar, Untitled (Hand-Shell), 1934, Gelatin silver print, (Private Collection)

The legacies of Elizabeth Siddal, Victorine Meurent, Emilie Louise Flöge, and Dora Maar serve as a reminder of the complex and multifaceted roles that muses played in the lives of famous European artists. Beyond their iconic portrayals on canvas, these women were poets, painters, innovators, and pioneers in their own right, challenging societal norms and leaving an indelible mark on the world of art. As we reflect on their lives and legacies, let us not forget the untold stories of the faces of some of the greatest masterpieces in history. Whilst this article merely scrapes the surfaces of these women’s lives beyond their painterly representation, there is hope for future research that delves deeper and more expansively.