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List Of Paintings By John Everett Millais
This work in progress is a list of all paintings by John Everett Millais. Youthworks *''Emily Millais''. Ca. 1843. Oil on canvas, 59.7 x 49.5 cm. Geoffrey Richard Everett Millais Collection. *''Pizarro Seizing the Inca of Peru''. 1846. Oil on canvas, 128,3 x 172,1 cm. Victoria & Albert Museum, London, United Kingdom. *''Self Portrait''. 1847. Oil on millboard, 27,3 x 22,2 cm. *''The Artist Attending the Mourning of a Young Girl''. Ca. 1847. Oil on board, 18,7 x 25,7 cm. Pre-Raphaelite Brotherhood *''Isabella''. 1848–49. Oil on canvas, 102,9 x 142,9 cm. Walker Art Gallery, Liverpool, United Kingdom. *''The Death of Romeo and Juliet'' *''Cymon and Iphigeneia'' *''Ralph Thomas'' *''William Hugh Fenn'' *''Ferdinand Lured by Ariel'' *'' 'Christ in the House of His Parents' or 'The Carpenter's Shop''' *''Portrait of a Gentleman and his Grandchild (James Wyatt and his Granddaughter, Mary Wyatt)'' *''Portrait of Four Children of the Wyatt Family'' *''The Woodma ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
John Everett Millais
Sir John Everett Millais, 1st Baronet, ( , ; 8 June 1829 – 13 August 1896) was an English painter and illustrator who was one of the founders of the Pre-Raphaelite Brotherhood. He was a child prodigy who, aged eleven, became the youngest student to enter the Royal Academy Schools. The Pre-Raphaelite Brotherhood was founded at his family home in London, at 83 Gower Street (now number 7). Millais became the most famous exponent of the style, his painting ''Christ in the House of His Parents'' (1849–50) generating considerable controversy, and he produced a picture that could serve as the embodiment of the historical and naturalist focus of the group, ''Ophelia'', in 1851–52. By the mid-1850s, Millais was moving away from the Pre-Raphaelite style to develop a new form of realism in his art. His later works were enormously successful, making Millais one of the wealthiest artists of his day, but some former admirers including William Morris saw this as a sell-out (Millais ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sophy Gray (Pre-Raphaelite Muse)
Sophia Margaret "Sophie" Gray (28 October 1843 – 15 March 1882), later Sophia Margaret Caird, was a Scottish model for her brother-in-law, the Pre-Raphaelite painter John Everett Millais. She was a younger sister of Euphemia "Effie" Gray, who married Millais in 1855 after the annulment of her marriage to John Ruskin. The spelling of her name was, after around 1861, sometimes "Sophy," but only within the family. In public she was known as Sophie and later in life, after her marriage, as Sophia. From the late 1860s she suffered from a mental illness which seems to have involved a form of anorexia nervosa. In 1873, she married the Scottish entrepreneur James Caird and together they had a daughter. She died in 1882, probably as a result of her anorexia. Background Sophie Gray was born in October 1843 to Sophia Margaret Gray, ''née'' Jameson (1808–1894), and George Gray (1798–1877), a Scottish lawyer and businessman. Her maternal grandfather, Andrew Jameson, became Sherif ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
List Of Pre-Raphaelite Paintings
This is a list of paintings produced by members of the Pre-Raphaelite Brotherhood and other artists associated with the Pre-Raphaelite style. The term "Pre-Raphaelite" is used here in a loose and inclusive fashion. PRB members James Collinson *''The Renunciation of St. Elizabeth of Hungary'' (1850) *''Answering the Emigrant's Letter'' (1850) *''A Son of the Soil'' (1856) *''Home Again'' (1856) *''To Let'', also known as ''The Landlady'' (1856) *''For Sale'', also known as ''At the Bazaar'' (1857) *'' The Sisters'' (c. 1860) *''Too Hot'' (1863) *'' The Holy Family'' (1878) William Holman Hunt *''Self-portrait at the Age of 14'' (1841), Ashmolean Museum, Oxford *''Love at First Sight'' (1846) *''F. G. Stephens'' (1847), Tate Britain, London *''Christ and the Two Marys'' aka ''The Risen Christ with the Two Marys in the Garden of Joseph of Aramathea'' (1847 and 1897), Art Gallery of South Australia, Adelaide *''The Escape of Madeline and Porphyro during the drunkenness attendi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bubbles (painting)
''Bubbles'', originally titled ''A Child's World'', is an 1886 painting by Sir John Everett Millais that became famous when it was used over many generations in advertisements for Pears soap. During Millais's lifetime it led to widespread debate about the relationship between art and advertising. Painting The painting was one of many child pictures for which Millais had become well known in his later years. It was modelled by his five-year-old grandson William Milbourne James and was based on 17th-century Dutch precursors in the tradition of vanitas imagery, which commented upon the transience of life. These sometimes depicted young boys blowing bubbles, typically set against skulls and other signs of death. The painting portrays a young golden-haired boy looking up at a bubble, symbolising the beauty and fragility of life. On one side of him is a young plant growing in a pot, emblematic of life, and on the other is a fallen broken pot, emblematic of death. He is spot-lit again ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Ruling Passion
''The Ruling Passion'', sometimes called ''The Ornithologist'', is a painting by John Everett Millais which was shown at the Royal Academy Exhibition in 1885. The painting depicts an older man lying on a chaise-longue. He is showing a stuffed bird, a king bird of paradise, to a group of children and a woman. The older girl on the left of the picture is holding a resplendent quetzal, and other specimens are scattered about. The attitude of the children ranges from the enthralled interest of the youngest two to the comparative indifference, almost boredom, of the oldest girl. The work was inspired by a visit that Millais and his son John Guille Millais paid to the ornithologist John Gould shortly before his death in 1881. On the way home, Millais said to his son "That's a fine subject; a very fine subject. I shall paint it when I have time." It was several years after Gould's death before he had time, and the picture as painted is not a representation of Gould or of the scene ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The North-West Passage
''The North-West Passage'' is an 1874 painting by John Everett Millais. It depicts an elderly sailor sitting at a desk, with his daughter seated in a stool beside him. He stares out at the viewer, while she reads from a log-book. On the desk is a large chart depicting complex passageways between incompletely charted islands. Millais exhibited the painting with the subtitle "It might be done and England should do it", a line imagined to be spoken by the aged sailor. The title and subtitle refer to the repeated failure of British expeditions to find the Northwest Passage, a navigable passageway around the north of the American continent. These expeditions "became synonymous with failure, adversity and death, with men and ships battling against hopeless odds in a frozen wilderness." Background The search for the northwest passage had been undertaken repeatedly since the voyages of Henry Hudson in the early 17th century. The most significant attempt was the 1845 expedition led by J ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chill October
''Chill October'' is an 1870 oil painting by John Everett Millais which depicts a bleak Scottish landscape in autumn. The painting measures . It was the first large-scale Scottish landscape painted by Millais. The work was painted ''en plein air'', near the railway line from Perth to Dundee, close to the family home of Millais' wife Effie Gray at Bowerswell House in Perth. Millais first noticed the scene when passing by train, and returned to paint it. The right foreground is dominated by long grasses, with the landscape stretching out to the left past a river bank with wind-blown willows and reeds to a distant hill beside the Firth of Tay. The scene is dominated by muted greens, yellows and browns of autumn, under a sombre grey sky. It was exhibited at the Royal Academy in 1871, and won a prize at the Paris Exposition Universelle in 1878. It was bought in 1871 for £1,000 by Samuel Mendel for his house at Manley Hall. It was sold at auction in 1875 for 3,100 guineas (£3,25 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Boyhood Of Raleigh
''The Boyhood of Raleigh'' is an 1870 painting by John Everett Millais in the collection of the Tate Gallery. In the painting, Millais depicts famed Elizabethan-era explorer Walter Raleigh and his brother on the Devonshire coast listening to a Genoese sailor pointing out to sea and telling the pair of "tales of wonder on sea and land". Inspired by an essay written by historian James Anthony Froude, the painting was exhibited at the Royal Academy in 1871. Quickly receiving acclaim, it went on to be the subject of parody by numerous 20th century political cartoons and album covers. Origins The painting was inspired by an essay written by James Anthony Froude on ''England's Forgotten Worthies'', which described the lives of Elizabethan seafarers. It was also probably influenced by a contemporaneous biography of Raleigh, which imagined his experiences listening to old sailors as a boy. Millais travelled to Budleigh Salterton to paint the location. Millais's sons Everett and Geo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Esther (Millais Painting)
''Esther'' (1865) is a painting by John Everett Millais depicting the central character from the Biblical Book of Esther. It is from Millais's Aesthetic phase, when he was influenced by the work of Frederic Leighton and James McNeill Whistler. The painting depicts Esther, the Jewish wife of the Persian king Ahasuerus, as she prepares to enter the presence of her husband. As she is uninvited, she risks death, but does so to inform him of a plot against the Jews. Millais borrowed the Yellow Jacket, a gown given to General Gordon by the Chinese emperor after his defeat of the Taiping rebellion. In order to create a culturally unspecific effect, he turned it inside out, producing the abstract patterns visible in the painting. Millais creates a dramatic visual effect by vivid contrasts of colours, setting the deep blue of the curtain against the yellow dress and the white columns. The minimising of the narrative aspect of the scene is also in line with the Aestheticist approach o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Black Brunswicker (Millais)
''The Black Brunswicker'' (1860) is a painting by John Everett Millais. It was inspired in part by the exploits of the Black Brunswickers, a German volunteer corps of the Napoleonic Wars, during the Waterloo campaign and in part by the contrasts of black broadcloth and pearl-white satin in a moment of tender conflict. Subject The painting depicts a Brunswicker about to depart for battle. His sweetheart, wearing a ballgown, restrains him, trying to push the door closed, while he pulls it open. This suggests that the scene is inspired by the Duchess of Richmond's ball on 15 June 1815, from which the officers departed to join troops at the Battle of Quatre Bras.Mary Bennett, ''Artists of the Pre-Raphaelite Circle: The First Generation'', Catalogue of Works at the Walker Art Gallery, Lady Lever Gallery and Sudley Art Gallery, National Museums and Galleries, Merseyside, Lund Humphries, pp.144–149. The woman's dog, wearing a red ribbon like its mistress, looks on attentively. In ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sir Isumbras At The Ford
''A Dream of the Past: Sir Isumbras at the Ford'' (1857) is a painting by John Everett Millais depicting a medieval knight helping two young peasant children over a swollen river. The children are carrying heavy burdens of wood for winter fuel. Though the title refers to the medieval poem '' Sir Isumbras'', the painting does not illustrate a scene from the original text. However Millais's friend, the writer Tom Taylor, wrote verse in a pastiche of the original poem, describing the event depicted. This was included in the original exhibition catalogue. The background of the painting is based closely on a ruined medieval bridge which stood in Bridge of Earn, Perthshire (since demolished). Some of the village houses (in Back Street) can also be seen, though the tower house or castle to the left is imaginary. When first exhibited the painting was extremely controversial, and was attacked by many critics. Millais's former supporter John Ruskin declared it to be a "catastrophe". T ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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