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John Everett Millais

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John Everett Millais Paintings and Biography

John Everett Millais Paintings for Sale

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John Everett Millais Biography

English Pre-Raphaelite painter & illustrator
born 8 June 1829 - died 13 August 1896

Teacher of: Frank Dicksee (1853-1928).
Friend of: William Holman Hunt (1827-1910), Charles Edward Perugini (1839-1918).
President of: Royal Academy of Art (from 1896)

Millais was born in Southampton in 1829, the son of John William and Emily Mary Millais.

The painter was by far the most naturally gifted of the founders of the PRB. Early John Everett Millais paintings in the PR style were amazingly accomplished for such a young artist. The artist produced pictures which were minutely observed, with a painstaking attention to detail, which meant that painting them was a slow and laborious process. John Everett Millais would typically paint landscape backgrounds in the summer, and add figures in the foreground in his studio during the winter. Each of his pictures was also the result of a large number of detailed preparatory drawings. John Everett Millais painter went to considerable trouble and expense, even as an impecunious young artist to find the right props, a notable example of this being the dress worn by Ophelia, for which John Everett Millais paid four pounds a considerable sum at that time.

The first John Everett Millais paintings exhibited at the RA by Millais and the other Pre-Raphaelites were initially greeted with derision, followed by vicious critical attacks, the most notorious of these being that by Charles Dickens, on the famous early John Everett Millais painting Christ in The House of His Parents, exhibited at the RA in 1850, in which Dickens spoke of the young Jesus as "a hideous wry-necked blubbering boy." It is difficult for us to understand today why this particular work was felt to be so objectionable, but the depiction of the family of Christ as ordinary people was regarded as very disrespectful.

The marriage of the John and Effie Millais proved to be a catalyst in the evolution of his style which started in the early 1860s. John Everett Millais paintings artist said that it was no longer economically possible for him to spend the whole day painting an area "no larger than a five shilling piece."

Thus John Everett Millais changed to a broader, looser, more spontaneous style of painting, with a strong element of sentiment, which was perfectly in keeping with the popular taste of the day. This change has been seen by many critics as a great artist selling-out, and becoming a mere populist. These attacks persist to this day. John Everett Millais painter also became one of the most successful portrait artists of Victorian Britain. Some of these portraits are extremely successful by whichever criteria they are judged. Physical likenesses are, it goes without saying, excellent, and the best portraits as well as being wonderfully painted, are brilliantly successful in illustrating the character of the sitter. In the John Everett Millais painting Twins, of 1876 he produced a portrait of the identical daughters of a wealthy manufacturer. The markedly different characters of the confident and assertive Kate, and the more nervous introverted Edith are illustrated wonderfully well. The portrait of Tennyson, now in the Lady Lever Gallery is dramatic and powerful, and is quite simply a masterpiece. None of this is to say that the later portraits are of uniform quality. The famous John Everett Millais painting of the dying Disraeli is a lost opportunity, and some of the John Everett Millais paintings children are overly-sentimental pot-boilers.

The later John Everett Millais paintings at their best are of great virtue. They are spontaneous, the use of paint is brilliant, with a creamy, textured surface. The reaction against John Everett Millais painter after his death was greatly exaggerated, and the blanket condemnation cannot be justified today. The Scottish Autumnal landscapes are also of very considerable merit.

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