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Oil Paintings Come From United Kingdom
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Sir John Everett Millais
British 1829-1896 Sir John Everett Millais Galleries After his marriage, Millais began to paint in a broader style, which was condemned by Ruskin as "a catastrophe". It has been argued that this change of style resulted from Millais' need to increase his output to support his growing family. Unsympathetic critics such as William Morris accused him of "selling out" to achieve popularity and wealth. His admirers, in contrast, pointed to the artist's connections with Whistler and Albert Moore, and influence on John Singer Sargent. Millais himself argued that as he grew more confident as an artist, he could paint with greater boldness. In his article "Thoughts on our art of Today" (1888) he recommended Vel??zquez and Rembrandt as models for artists to follow. The Two Princes Edward and Richard in the Tower (1878) The Boyhood of Raleigh (1871)Paintings such as The Eve of St. Agnes and The Somnambulist clearly show an ongoing dialogue between the artist and Whistler, whose work Millais strongly supported. Other paintings of the late 1850s and 1860s can be interpreted as anticipating aspects of the Aesthetic Movement. Many deploy broad blocks of harmoniously arranged colour and are symbolic rather than narratival. Later works, from the 1870s onwards demonstrate Millais' reverence for old masters such as Joshua Reynolds and Vel??zquez. Many of these paintings were of an historical theme and were further examples of Millais' talent. Notable among these are The Two Princes Edward and Richard in the Tower (1878) depicting the Princes in the Tower, The Northwest Passage (1874) and the Boyhood of Raleigh (1871). Such paintings indicate Millais' interest in subjects connected to Britain's history and expanding empire. His last project was to be a painting depicting a white hunter lying dead in the African veldt, his body contemplated by two indifferent Africans. This fascination with wild and bleak locations is also evident in his many landscape paintings of this period, which usually depict difficult or dangerous terrain. The first of these, Chill October (1870) was painted in Perth, near his wife's family home. Many others were painted elsewhere in Perthshire, near Dunkeld and Birnam, where Millais rented grand houses each autumn in order to hunt and fish. Millais also achieved great popularity with his paintings of children, notably Bubbles (1886) ?C famous, or perhaps notorious, for being used in the advertising of Pears soap ?C and Cherry Ripe.

 

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Sir John Everett Millais Ophelia oil painting

Painting ID::  2858

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Sir John Everett Millais
Ophelia
1851-52 Tate Gallery, London
   
   
     

 

 

Sir John Everett Millais Mariana oil painting

Painting ID::  2859

X 
 

Sir John Everett Millais
Mariana
1851
   
   
     

 

 

Sir John Everett Millais My First Sermon oil painting

Painting ID::  2860

X 
 

Sir John Everett Millais
My First Sermon
1862-63
   
   
     

 

 

Sir John Everett Millais The Blind Girl oil painting

Painting ID::  2861

X 
 

Sir John Everett Millais
The Blind Girl
1854-56 Birmingham Museum and Art Gallery, England
   
   
     

 

 

Sir John Everett Millais The Black Brunswicker oil painting

Painting ID::  2862

X 
 

Sir John Everett Millais
The Black Brunswicker
1860 Lady Lever Art Gallery
   
   
     

 

 

Sir John Everett Millais Bubbles oil painting

Painting ID::  2863

X 
 

Sir John Everett Millais
Bubbles

   
   
     

 

 

Sir John Everett Millais Charles J.Wertheimer oil painting

Painting ID::  11842

X 
 

Sir John Everett Millais
Charles J.Wertheimer
Esq,1888 4' 2 1/2'' x 2' 9''(128 x 84 cm)Gift of Mrs.Wertheimer,1914
   
   
     

 

 

Sir John Everett Millais Ophelia (mk09) oil painting

Painting ID::  21551

X 
 

Sir John Everett Millais
Ophelia (mk09)
1851 Oil on canvas,76 x 112 cm London,Tare Gallery
   
   
     

 

 

Sir John Everett Millais Ophelia (mk28) oil painting

Painting ID::  24402

X 
 

Sir John Everett Millais
Ophelia (mk28)
1852 Oil on canvas 76 x 112 cm London Tate Gallery
   
   
     

 

 

Sir John Everett Millais Ophelia oil painting

Painting ID::  27673

X 
 

Sir John Everett Millais
Ophelia
mk58 1851-2 oil on canvas 76.2x111.8cm Tate.London
   
   
     

 

 

Sir John Everett Millais The Rescue oil painting

Painting ID::  27993

X 
 

Sir John Everett Millais
The Rescue
1855 Oil on canvas 119.4 x 83.8cm (47 x 33in)National Gallery of Victoria Melbourne (mk63)
   
   
     

 

 

Sir John Everett Millais Ferdinand Lured by Ariel oil painting

Painting ID::  27996

X 
 

Sir John Everett Millais
Ferdinand Lured by Ariel
1849-50 Oil on wood 64.5 x 50.8 cm (25 1/2 x 20in) Private collection (mk63)
   
   
     

 

 

Sir John Everett Millais Mrs James Wyatt Jnr and her Daughter oil painting

Painting ID::  28022

X 
 

Sir John Everett Millais
Mrs James Wyatt Jnr and her Daughter
c 1850 oil on wood ,35.6 x 45.1cm (14 x 17 3/4in) Tate Gallery London (mk63)
   
   
     

 

 

Sir John Everett Millais Hohn Ruskin oil painting

Painting ID::  28162

X 
 

Sir John Everett Millais
Hohn Ruskin
1853-4 Oil on canvas 79 x 68 cm (31 x 26 3/4 in) Private collection (mk63)
   
   
     

 

 

Sir John Everett Millais The Return of the Dove to the Ark oil painting

Painting ID::  28235

X 
 

Sir John Everett Millais
The Return of the Dove to the Ark
1851 Oil on canvas 87.6 x 54.6 cm (34 1/4 x 21 1/2 in) Ashmolean Museum Oxford (mk63)
   
   
     

 

 

Sir John Everett Millais Ophelia oil painting

Painting ID::  34011

X 
 

Sir John Everett Millais
Ophelia
mk87 1851 Oil on canvas 76x112cm London,Tate Gallery
   
   
     

 

 

Sir John Everett Millais Leisure Hours oil painting

Painting ID::  37691

X 
 

Sir John Everett Millais
Leisure Hours
mk127 21x28 Oil on canvas
   
   
     

 

 

Sir John Everett Millais Mariana oil painting

Painting ID::  40706

X 
 

Sir John Everett Millais
Mariana
mk156 1851 Oil on canvas 59.7x49.5cm
   
   
     

 

 

Sir John Everett Millais Ophelia oil painting

Painting ID::  40708

X 
 

Sir John Everett Millais
Ophelia
mk156 1851 Oil on canvas 76x112cm
   
   
     

 

 

Sir John Everett Millais The crown of love oil painting

Painting ID::  51805

X 
 

Sir John Everett Millais
The crown of love
mk221 1875 Oil on canvas 130x88cm
   
   
     

 

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Sir John Everett Millais
British 1829-1896 Sir John Everett Millais Galleries After his marriage, Millais began to paint in a broader style, which was condemned by Ruskin as "a catastrophe". It has been argued that this change of style resulted from Millais' need to increase his output to support his growing family. Unsympathetic critics such as William Morris accused him of "selling out" to achieve popularity and wealth. His admirers, in contrast, pointed to the artist's connections with Whistler and Albert Moore, and influence on John Singer Sargent. Millais himself argued that as he grew more confident as an artist, he could paint with greater boldness. In his article "Thoughts on our art of Today" (1888) he recommended Vel??zquez and Rembrandt as models for artists to follow. The Two Princes Edward and Richard in the Tower (1878) The Boyhood of Raleigh (1871)Paintings such as The Eve of St. Agnes and The Somnambulist clearly show an ongoing dialogue between the artist and Whistler, whose work Millais strongly supported. Other paintings of the late 1850s and 1860s can be interpreted as anticipating aspects of the Aesthetic Movement. Many deploy broad blocks of harmoniously arranged colour and are symbolic rather than narratival. Later works, from the 1870s onwards demonstrate Millais' reverence for old masters such as Joshua Reynolds and Vel??zquez. Many of these paintings were of an historical theme and were further examples of Millais' talent. Notable among these are The Two Princes Edward and Richard in the Tower (1878) depicting the Princes in the Tower, The Northwest Passage (1874) and the Boyhood of Raleigh (1871). Such paintings indicate Millais' interest in subjects connected to Britain's history and expanding empire. His last project was to be a painting depicting a white hunter lying dead in the African veldt, his body contemplated by two indifferent Africans. This fascination with wild and bleak locations is also evident in his many landscape paintings of this period, which usually depict difficult or dangerous terrain. The first of these, Chill October (1870) was painted in Perth, near his wife's family home. Many others were painted elsewhere in Perthshire, near Dunkeld and Birnam, where Millais rented grand houses each autumn in order to hunt and fish. Millais also achieved great popularity with his paintings of children, notably Bubbles (1886) ?C famous, or perhaps notorious, for being used in the advertising of Pears soap ?C and Cherry Ripe.