|
|
|
Sir John Everett Millais The North-West Passage 1874(1874)
Medium oil on canvas
Dimensions Height: 1,765 cm (694.9 in). Width: 2,222 cm (874.8 in).
cyf
|
|
|
|
|
|
|
|
|
|
Sir John Everett Millais Herbstlaub 1856(1856)
Medium oil on canvas
Dimensions 104,3 X 74 cm
cyf
|
|
|
|
|
|
|
|
|
|
Sir John Everett Millais A Flood Date 1870(1870)
Medium oil on canvas
Dimensions 99.3 x 144.9 cm
TTD
|
|
|
|
|
|
|
|
|
|
Sir John Everett Millais Isabella 1849
Type Oil on canvas
Dimensions 103 cm x 142.8 cm
cyf
|
|
|
|
|
|
|
|
|
|
Sir John Everett Millais A Huguenot 1852
Type Oil on canvas
Dimensions 92.71 cm x 64.13 cm
cyf
|
|
|
|
|
|
|
|
|
|
Sir John Everett Millais Order of Release 1852
Type Oil on canvas
Dimensions 102.9 cm x 73.7 cm
cyf
|
|
|
|
|
|
|
|
|
|
Sir John Everett Millais The Proscribed Royalist 1853
Type Oil on canvas
Dimensions 102.8 cm x 73.6 cm
cyf
|
|
|
|
|
|
|
|
|
|
Sir John Everett Millais Peace Concluded 1856
Type Oil on canvas
Dimensions 120 cm x 91 cm
cyf
|
|
|
|
|
|
|
|
|
|
Sir John Everett Millais Sir Isumbras at the Ford Sir Isumbras at the Ford by JE Millais, 157 Image is taken from
cyf
|
|
|
|
|
|
|
|
|
|
Sir John Everett Millais Black Brunswicker 1860
Type Oil on canvas
Dimensions 104 cm x 68.5 cm
cyf
|
|
|
|
|
|
|
|
|
|
Sir John Everett Millais Esther 1865
Type Oil on canvas
cyf
|
|
|
|
|
|
|
|
|
|
Sir John Everett Millais Vanessa 1868,
cyf
|
|
|
|
|
|
|
|
|
|
Sir John Everett Millais The Boyhood of Raleigh 1870
Type Oil on canvas
Dimensions 120.6 cm x 142.2 cm
cyf
|
|
|
|
|
|
|
|
|
|
Sir John Everett Millais Victory O Lord 1871
Type Oil on canvas
Dimensions 194.7 cm x 141.3 cm
cyf
|
|
|
|
|
|
|
|
|
|
Sir John Everett Millais John Everett Millais 1885
Type Oil on canvas
Dimensions 160.7 cm x 215.9 cm
cyf
|
|
|
|
|
|
|
|
|
|
Sir John Everett Millais The Black Brunswicker 1860(1860)
Medium oil on canvas
cyf
|
|
|
|
|
|
|
|
|
|
Sir John Everett Millais The North 1874(1874)
Medium oil on canvas
cyf
|
|
|
|
|
|
|
|
|
|
Sir John Everett Millais The Farmers Daughter oil on canvas, 45.4x35 cm
Date ?
cyf
|
|
|
|
|
|
|
|
| |
|
|
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.
|