Millais, John Everett

Millais

John Everett Millais (British Artists)

John Everett Millais (1829-1896) was a founding member of the Pre-Raphaelite Brotherhood and the quintessential English gentleman artist. A Baronet and president of the Royal Academy, Millais produced some of the most famous images of his time. His first Pre-Raphaelite work, The Carpenter's Shop, had a dramatic effect on the critics; Charles Dickens famously described his portrayal of the Christ child as a "hideous, wry-necked, blubbering, red-haired boy in a night-gown." Author Christine Riding analyzes his artistic career, his critics, and his audience, exploring the broader issues that preoccupied his contemporaries on the subject of art itself.

Beyond Decoration: The Illustrations Of John Everett Millais

First edition. John Everett Millais is admired as one of the most celebrated of Pre-Raphaelite painters. Perhaps less known is the major contribution he made both to book and periodical illustration between 1852 and 1883. Many of these book illustrations remain little known today, largely due to the fact that they are scattered in hundreds of 19th century books and periodicals. This important new work brings together over 300 examples of Millais illustrations, enabling this part of his work to be viewed and appreciated by new generations. This work will be an important reference to any scholar interested in Victorian book illustration. Paul Goldman was a curator in the Department of Prints and Drawings at the British Museum. He is the author of Victorian Illustrated Books 1850-1870 - The Heyday of Wood-Engraving (British Museum Press, 1994) and Victorian Illustration - The Pre-Raphaelites, The Idyllic School and The High Victorians (Scolar Press, 1996). Co-Published with the Private Libraries Association and The British Library. Sales rights North and South America. Available in June 2005.

John Everett Millais: A Biography

Among the notorious Victorian artists who called themselves Pre-Raphaelites, the most renowned was John Everett Millais. A fascinating, wonderfully diverse individual, he knew nearly "everybody who was anybody." Well-honored by his peers, he was, for forty years, Britain's most popular artist. The350 paintings he produced displayed their creator's remarkable versatility: Millais was a master of historical, mythological, Biblical, and literary subjects as well as landscapes and portraits. Astonishingly, there has been no full-length biography of Millais for a hundred years, so much of G.H. Fleming's material has never before appeared in a book. This vivid, authoritative portrait is a long-overdue contribution to art history. G.H. Fleming, an authority on the Victorian period, is the author of nine books, including Rossetti and the Pre-Raphaelite Brotherhood, Young Whistler, and Whistler: A Life.

The Life And Letters Of Sir John Everett Millais V2 (1899)

The Life And Letters Of Sir John Everett Millais V1: President Of The Royal Academy

Millais and his works, with special reference to the exhibition at the Royal Academy 1898,

An exhibition organized by the Walker Art Gallery Liverpool & the Royal Academy of Arts London: PRB Millais PRA, January-April 1967

Millais

John Everett Millais is still thought of mostly as a Pre-Raphaelite painter, but a much longer portion of his career was devoted to painting the portraits of the Victorian rich and famous. Not only did this prove extraordinarily lucrative--Millais earned what by today's standards would be millions from his portraits--it offered one of the most talented 19th-century painters the chance to fashion powerful and memorable images of the people of his age. This book is the catalog to the 1999 Millais Portrait exhibition debuting at the National Gallery in London and traveling around the United States. It is a much more handsome production than most catalogs. The pictures are beautifully reproduced, and in place of the often bland catalog commentary are essays from four leading art historians on Millais's early and Pre-Raphaelite portraits and his portraits of children, women, and men of power. Altogether, these writings provide an absorbing historical and critical context for the pictures. It is in the contrast between a Millais portrait of an old woman in black (Isabella Heugh, 1872) and the more famous portrait by James Whistler of his mother (Arrangement in Grey and Black No. 1, 1871) that Millais's talent as a portraitist is precisely articulated. Isabella Heugh is not only full of character but the canvass itself is dynamic and involving with its potent color scheme and diagonal composition. Next to it, Whistler's famous image seems flat and denuded. --Adam Roberts

John Everett Millais (1829-1896) was one of the most celebrated figures of Victorian art. As a young man, he founded the Pre-Raphaelite Brotherhood with Dante Gabriel Rossetti and William Holman Hunt. In later years, he rose to wealth, acclaim, and social prestige as a landscapist, illustrator, and painter of subject and genre pictures and as the most successful British portrait painter of his generation. This lavishly illustrated book, published to accompany a major exhibition at the National Portrait Gallery in London, is the first comprehensive survey of Millais's portraits. It is also a historically important record of High Victorian England, containing the artist's memorable images of such leading political and cultural figures as Gladstone, Disraeli, Tennyson, Ruskin, Carlyle, and Lillie Langtry. The book includes 100 color reproductions as well as essays by eminent scholars that place Millais's work in the context of his public and private life, making this an authoritative and visually compelling study of the artist's extraordinary contributions to portraiture.

Peter Funnell begins the book by describing Millais's astonishing popularity and the artist's public persona, examining his practice as a portraitist and assessing the view common among later critics that Millais's mature work failed to fulfill his youthful promise. Leonée Ormond examines Millais's early portraits, from his precocious boyhood sketches to his magnificent portrait of Ruskin (1853-54) and his paintings of Ruskin's wife, Effie, who famously left her husband to marry Millais. Malcolm Warner interprets Millais's portraits of children--including the elegiac painting Autumn Leaves (1855-56) and the melancholy Nina Lehmann (1869)--as reflections of Millais's nostalgic ideas about the naturalness, innocence, and beauty of childhood. H. C. G. Matthew assesses Millais's portraits of men of power, which include paintings of four Prime Ministers (Gladstone, Disraeli, Salisbury, and Rosebery). Kate Flint discusses Millais's portraits of women, which ranged from likenesses of family and friends to glamorous paintings of the rich, aristocratic, and beautiful. Each essay is followed by its own thematic catalogue of portraits.

The elegantly written essays and stunning reproductions are supplemented by Warner's extensive documentation about individual works of art, drawings from Millais's sketchbooks, and photographs of the artist in his studio. In its words and images, in its scholarship and its accessibility to the general reader, this is an exceptional book about one of the most influential artists of the nineteenth century.

Time Present And Time Past: The Art Of John Everett Millais (British Art and Visual Culture Since 1750, New Readings) (British Art and Visual Culture Since ... and Visual Culture Since 1750, New Readings)