The Enchanted Interior

Exploring the sinister implications of the interior as a ‘gilded cage’ in which women are pictured as ornamental objects

The Love Potion Evelyn de Morgan


Until Saturday 22 February

Visitor information

Opening hours

Monday - Saturday10am-4.30pm
Bank holidaysClosed


No need to book tickets in advance. Please purchase tickets for the exhibition on the day from the Laing shop.


Donation ticket£12
Standard ticket£10
12 and underFree
Family ticket**£20
Multi-visit ticket£19
Membership ticket***£5
Multi-visit ticket for members***£12

All funds raised from the sale of tickets for this exhibition go towards directly supporting the work of the Laing Art Gallery.

Max Card holders, members of NMDC and Museum Association and exhibition lenders: Free

*Concessions include senior citizens, 12-18 year olds, students, registered unemployed, disabled people (plus free entry for one carer).

**Two adults and two 12-18 year olds or one adult and three 12-18 year olds.

***Membership discount applies to Friends of the Laing, Art Fund members and Laing Exhibition Partners.

To be eligible for discounts you must show proof of age/status/membership


As featured in:

The Enchanted Interior explores the sinister implications of a popular theme in nineteenth-century painting: the depiction of the interior as a ‘gilded cage’ in which women are pictured as ornamental objects. Iconic Pre-Raphaelite paintings by artists such as Edward Burne-Jones and William Holman Hunt will be shown alongside works by their female peers such as Emma Sandys and Evelyn De Morgan, who challenge and subvert the idealisation of women as captive damsels or passive beauties. Meanwhile, installation and moving image work by contemporary artists such as Mona Hatoum and Fiona Tan highlight the duality inherent in the interior, as a site that can be a sanctuary or a threat.

This exhibition has been developed by the Laing Art Gallery and will tour nationally.

Admission charges apply

This exhibition was made possible by grants from the Weston Loan Programme with Art Fund, the John Ellerman Foundation, The Henry Moore Foundation, and a Jonathan Ruffer Curatorial Research Grant from Art Fund. It will be accompanied by an illustrated publication made possible by a grant from the Paul Mellon Centre for Studies in British Art. In kind support by Bon Bloemen