摘要：This essay intends to promote the iconography of the female alchemist by analyzing two paintings: Evelyn De Morgan's "The Love Potion" and William De Morgan's "The Alchemist's Daughter". With a brief journey through art history, it will become evident that the female alchemist is an iconographical innovation. Being practicing spiritualists who were well-versed in occult traditions, the De Morgans, in particular Evelyn, most likely identified with the alchemist who can be seen as a time-transcending figure of identification. Furthermore, Evelyn's spiritualist pracitices and her art production are intertwined. Based on the ancient relation between art and alchemy, the female alchemist can be seen as an image of the (female) artist.
