Pale blue eyes
Find the pale blue eyes and the set red lips in her face. They are the coolest note in a warm picture, and her sideways gaze feels guarded and rather sad.

“Stop to appreciate this large-scale chalk study of Jane Morris, a key figure in the Pre-Raphaelite movement. Her intense gaze and flowing hair capture the essence of a woman lost in thought, a powerful preparation for a major painting.”
In this striking chalk drawing, Jane Morris, a frequent muse for the Pre-Raphaelite Brotherhood, is depicted with a powerful, almost melancholic gaze. Her voluminous hair, a signature element of the Pre-Raphaelite aesthetic, cascades around her, creating a dense, dark frame for her face. This work is a study for a larger painting, "Mariana," which draws inspiration from Shakespeare's "Measure for Measure." Here, the focus is entirely on Morris's expression and posture, capturing the pensive solitude of a woman waiting. The four butt-joined sheets of paper, visible upon close inspection, highlight the scale and ambition of the preparatory drawing, allowing for a life-sized study of the figure before committing to paint. The use of red, brown, off-white, and black chalk on tan paper lends a rich, earthy tone, emphasizing the naturalistic yet idealized portrayal.
Five details hide in plain sight. Pick one and we’ll show you exactly where to look.
Find the pale blue eyes and the set red lips in her face. They are the coolest note in a warm picture, and her sideways gaze feels guarded and rather sad.
The thick waves of hair, gathered into a loose roll, and the long pale neck are drawn with great care. The tall curve of the neck gives her an elegant, statuesque look.
She holds a thin leafy sprig, with her fingers curled loosely around the stem. The relaxed grip and downcast mood suit a study for Mariana, the waiting woman from Shakespeare's Measure for Measure.
In the upper right, pale roses fade into the dark wall, and one fallen bloom lies on the ledge below the vase. Their softness contrasts with her firm face.
Nearly everything is built from red-brown chalk, with off-white used for highlights and touches of black and brown. The limited palette gives the whole sheet a warm, glowing tone.
The full narration walks you through Jane Morris: Study for "Mariana" — the story behind it, the details most visitors miss, and why it matters. Free in the Art Whisper app.
Dante Gabriel Rossetti, a founding member of the Pre-Raphaelite Brotherhood, blended poetry and painting to create evocative, symbolic works like "Beata Beatrix."
Beata Beatrix
1877 · Birmingham Museums Trust
Faust: Part 1. Last Scene
1846 · The Metropolitan Museum of Art
Mariana in the South (Illustration for "The Palace of Art" in Tennyson's Poems, New York, 1903)
1857 · The Metropolitan Museum of Art
Sir Galahad (from Tennyson's Poems, New York, 1903)
1857 · The Metropolitan Museum of Art
St. Cecily / Cecilia (Illustration for The Palace of Art in Tennyson's Poems, New York, 1903)
1857 · The Metropolitan Museum of Art
The Lady of Shalott (from Tennyson's Poems, New York, 1903)
1857 · The Metropolitan Museum of Art
Buy from Us with a Golden Curl (frontispiece to "Goblin Market and other Poems" by Christina Rossetti)
1862 · The Metropolitan Museum of Art
Design for Old Testament Window
1865 · The Metropolitan Museum of Art
Beyond Rossetti and Symbolism: works from the same years, and from the other movements Jane Morris: Study for "Mariana" belongs to.
Same movement · Arts and Crafts movement
The Backgammon Players
Philip Webb · 1861 · The Metropolitan Museum of Art
Same era · 1850s–1880s
Barks Fleeing Before the Storm
Léon-Victor Dupré · 1870 · Art Institute of Chicago
Same movement · Aestheticism
Fear
Odilon Redon · 1866 · Cleveland Museum of Art
Same era · 1850s–1880s
Paris Street; Rainy Day
Kawabata Gyokushō · 1877 · Art Institute of Chicago
Same movement · Arts and Crafts movement
Trellis
William Morris · 1864 · The Metropolitan Museum of Art
Same era · 1850s–1880s
On the Bank of the Seine, Bennecourt
Claude Monet · 1868 · Art Institute of Chicago
Same movement · Aestheticism
Hagar and Ishmael, from "Dalziels' Bible Gallery"
Simeon Solomon · 1863 · The Metropolitan Museum of Art
Same era · 1850s–1880s
The Portico of the Church of San Ginés, Madrid
Mariano Fortuny Marsal · 1868 · Hispanic Society of America
Same era · 1850s–1880s
The Valley of Les Puits-Noir
Gustave Courbet · 1868 · Art Institute of Chicago
Same era · 1850s–1880s
Approaching Storm
William Hart · 1867 · Gilcrease Museum
Same era · 1850s–1880s
Mountain View at Bormio (from Switzerland 1869 Sketchbook)
John Singer Sargent · 1869 · The Metropolitan Museum of Art
Same era · 1850s–1880s
Gustave Boyer (b. 1840) in a Straw Hat
Paul Cézanne · 1870 · The Metropolitan Museum of Art
Same era · 1850s–1880s
The Banks of the Marne in Winter
Camille Pissarro · 1866 · Art Institute of Chicago
Same era · 1850s–1880s
The Little Shepherdess
Jean-François Millet · 1870 · Art Institute of Chicago
Same era · 1850s–1880s
The Pink Dress (Albertie-Marguerite Carré, later Madame Ferdinand-Henri Himmes, 1854–1935)
Berthe Morisot · 1870 · Metropolitan Museum of Art
Same era · 1850s–1880s
The Races at Longchamp
Édouard Manet · 1866 · Art Institute of Chicago