This document provides details on several paintings by the English artist Sir John Everett Millais. It includes summaries and background information on individual works such as Isabella (1849), The Knight Errant (1870), A Dream of the Past: Sir Isumbras at the Ford (1857), and Christ in the House of His Parents (1849-50). It also provides a brief biography of Millais, noting that he was a founder of the Pre-Raphaelite Brotherhood and produced paintings influenced by their style early in his career before moving to more popular styles later in life.
Sir Peter Paul Rubens (1577-1640) was from an Antwerp family. In 1591 he became a pupil Verhaecht, a landscape and decorative painter. In 1600 Rubens went to Italy and became a Court painter to Duke of Mantua. He travelled widely in Italy and visited many of the great cities. He spent time studied the works of Titan and Michelangelo. On return to Antwerp he was appointed as the Court Painter to the Spanish Governor of Netherlands, a post he held for the rest of his life. In Antwerp he built himself an Italianate palace and married Isabella Brandt in 1609. Afterward he became perhaps the most energetic and fruitful career in the history of art that made him the most important artist in Northern Europe and the greatest Baroque painter of Northern Europe.
The most learned, inventive and productive artist in the history of the northern Baroque, Rubens’s talent was extraordinary. The range of his work was colossal, encompassing portraiture, allegory, religious painting, landscapes and designs for ornament, tapestry, books and prints. A diplomat and scholar, his intelligent use of iconography was never rivalled, perfectly matching allusions to a patron’s aspirations, while his emotive religious works were actively intended as part of the Catholic armoury against the onslaught of the Protestant Reformation.
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One of the main reason why I was not keen on Rubens’ paintings is that he over dramatised, leading to theatrical and a sense of unreal, perhaps a bit too commercial. But of course technically he is very good and very successful, perhaps even better than Titan.
John Waterhouse - Myth & Beautiful Women Jerry Daperro
John Waterhouse (1849-1917) was one of the Pre-Raphaelite painters of the 19th Century, England. He painted main of women in myths, in literatures and biblical stories. He worked first in a manner close to Alma Tadema painting ancient genre scenes. He was elected as an associate of the Royal Academy in 1885 and a full member 10 years later.
Sir Peter Paul Rubens (1577-1640) was from an Antwerp family. In 1591 he became a pupil Verhaecht, a landscape and decorative painter. In 1600 Rubens went to Italy and became a Court painter to Duke of Mantua. He travelled widely in Italy and visited many of the great cities. He spent time studied the works of Titan and Michelangelo. On return to Antwerp he was appointed as the Court Painter to the Spanish Governor of Netherlands, a post he held for the rest of his life. In Antwerp he built himself an Italianate palace and married Isabella Brandt in 1609. Afterward he became perhaps the most energetic and fruitful career in the history of art that made him the most important artist in Northern Europe and the greatest Baroque painter of Northern Europe.
The most learned, inventive and productive artist in the history of the northern Baroque, Rubens’s talent was extraordinary. The range of his work was colossal, encompassing portraiture, allegory, religious painting, landscapes and designs for ornament, tapestry, books and prints. A diplomat and scholar, his intelligent use of iconography was never rivalled, perfectly matching allusions to a patron’s aspirations, while his emotive religious works were actively intended as part of the Catholic armoury against the onslaught of the Protestant Reformation.
---------------------
One of the main reason why I was not keen on Rubens’ paintings is that he over dramatised, leading to theatrical and a sense of unreal, perhaps a bit too commercial. But of course technically he is very good and very successful, perhaps even better than Titan.
John Waterhouse - Myth & Beautiful Women Jerry Daperro
John Waterhouse (1849-1917) was one of the Pre-Raphaelite painters of the 19th Century, England. He painted main of women in myths, in literatures and biblical stories. He worked first in a manner close to Alma Tadema painting ancient genre scenes. He was elected as an associate of the Royal Academy in 1885 and a full member 10 years later.
Instructor shares Elizabethan era masks and styles explored and used by craftspeople, actors and participants in the Venetian Carnivale and other venues.
27 famous william shakespeare quotes about flowersOZoFeTeam
William Shakespeare is an English writer and playwright, he is considered as the greatest writer in Britain and the talented playwright that was ahead of his time. He is also honored as one of the most popular poets of Britain and as “The Poet of Avon River”.
The years between 1900 and 1913 represent an extremely turbulent historical moment. Women's fashion is often said to mirror closely the spirit of the times. Technology was a huge force of change during this times, as the Industrial age kicked in. This was a time of transition and progress; although the world was rapidly changing, people still held ideals of womanly beauty and clothing trends reflected that.
The Art Institute of Chicago, founded in 1879 and located in Chicago's Grant Park, is one of the oldest and largest art museums in the United States. Recognized for its curatorial efforts and popularity among visitors, the museum hosts approximately 1.5 million guests annually.[2] Its collection, stewarded by 11 curatorial departments, is encyclopedic, and includes iconic works such as Georges Seurat's A Sunday on La Grande Jatte, Pablo Picasso's The Old Guitarist, Edward Hopper's Nighthawks, and Grant Wood's American Gothic. Its permanent collection of nearly 300,000 works of art is augmented by more than 30 special exhibitions mounted yearly that illuminate aspects of the collection and present cutting-edge curatorial and scientific research. Text from Wikipedia
Mary Cassatt - The New Woman of ImpressionismJerry Daperro
Mary Cassatt was (1844 -1926) an American painter who lived and worked permanently in France. She was well educated and also a modern woman, who lived in the era of rising awareness of the equality of the sexes. She painted the social and private lives of women in her days, with emphasis on the mother and child relation. She was not just an American artist living in Europe. She regularly exhibited her works with other impressionists. She was particularly close to Degas. She participated in the Impressionist Exhibitions in 1880 and 1881 and remained an active member of the Impressionist circle until 1886. Later in life she exhibited her workd in the US
When I go to an art museum, gallery or auction house I am eagle-eyed and fastidious to a degree. A nick in the frame, the dust and grime of centuries, the general effect sad and forlorn, all these I see. I see, too, the myriad of other defects …
The Inspiration Behind the Fall 2014 Fashion Collections - by FashiontribesLesley Scott
While it's always fun to see what's fresh and fashionable on the catwalks each season, as a Fashion Futurist, I've always found the designers' inspirations just as interesting as the clothes themselves - perhaps more so. I curated the most interesting collection-inspirations from NYC, London, Milan and Paris & chose the 80 collections with the most compelling backstories.
For fall 2014, many designers seemed to long for a return "better" days - kind of memory "comfort food" if you will - which manifested as a particularly a strong vein of being inspired by "primitive" crafts-as-arts, outsider art including fiber art, retro ethnic weaving. whirling dervishes & tribal tales born along the Silk Road. A more modern manifestation of this hankering for paradise lost showed up in the form retro advertising, comic book-ready sensibilities and a backlash against the juggernaut of commerce, particularly in the garish McDonald's-themed looks by Jeremy Scott for Moschino and the giant Chanel-branded supermarket fully stocked with everything from soap to food to bathmats bearing the interlocking Cs that served as the maison's pre$entation venue.
Instructor shares Elizabethan era masks and styles explored and used by craftspeople, actors and participants in the Venetian Carnivale and other venues.
27 famous william shakespeare quotes about flowersOZoFeTeam
William Shakespeare is an English writer and playwright, he is considered as the greatest writer in Britain and the talented playwright that was ahead of his time. He is also honored as one of the most popular poets of Britain and as “The Poet of Avon River”.
The years between 1900 and 1913 represent an extremely turbulent historical moment. Women's fashion is often said to mirror closely the spirit of the times. Technology was a huge force of change during this times, as the Industrial age kicked in. This was a time of transition and progress; although the world was rapidly changing, people still held ideals of womanly beauty and clothing trends reflected that.
The Art Institute of Chicago, founded in 1879 and located in Chicago's Grant Park, is one of the oldest and largest art museums in the United States. Recognized for its curatorial efforts and popularity among visitors, the museum hosts approximately 1.5 million guests annually.[2] Its collection, stewarded by 11 curatorial departments, is encyclopedic, and includes iconic works such as Georges Seurat's A Sunday on La Grande Jatte, Pablo Picasso's The Old Guitarist, Edward Hopper's Nighthawks, and Grant Wood's American Gothic. Its permanent collection of nearly 300,000 works of art is augmented by more than 30 special exhibitions mounted yearly that illuminate aspects of the collection and present cutting-edge curatorial and scientific research. Text from Wikipedia
Mary Cassatt - The New Woman of ImpressionismJerry Daperro
Mary Cassatt was (1844 -1926) an American painter who lived and worked permanently in France. She was well educated and also a modern woman, who lived in the era of rising awareness of the equality of the sexes. She painted the social and private lives of women in her days, with emphasis on the mother and child relation. She was not just an American artist living in Europe. She regularly exhibited her works with other impressionists. She was particularly close to Degas. She participated in the Impressionist Exhibitions in 1880 and 1881 and remained an active member of the Impressionist circle until 1886. Later in life she exhibited her workd in the US
When I go to an art museum, gallery or auction house I am eagle-eyed and fastidious to a degree. A nick in the frame, the dust and grime of centuries, the general effect sad and forlorn, all these I see. I see, too, the myriad of other defects …
The Inspiration Behind the Fall 2014 Fashion Collections - by FashiontribesLesley Scott
While it's always fun to see what's fresh and fashionable on the catwalks each season, as a Fashion Futurist, I've always found the designers' inspirations just as interesting as the clothes themselves - perhaps more so. I curated the most interesting collection-inspirations from NYC, London, Milan and Paris & chose the 80 collections with the most compelling backstories.
For fall 2014, many designers seemed to long for a return "better" days - kind of memory "comfort food" if you will - which manifested as a particularly a strong vein of being inspired by "primitive" crafts-as-arts, outsider art including fiber art, retro ethnic weaving. whirling dervishes & tribal tales born along the Silk Road. A more modern manifestation of this hankering for paradise lost showed up in the form retro advertising, comic book-ready sensibilities and a backlash against the juggernaut of commerce, particularly in the garish McDonald's-themed looks by Jeremy Scott for Moschino and the giant Chanel-branded supermarket fully stocked with everything from soap to food to bathmats bearing the interlocking Cs that served as the maison's pre$entation venue.
Visibility and Power: An 18th Century Conversation PieceYHRUploads
Annie Roberts's essay, titled Visibility and Power: An 18th Century Conversation Piece, comprises part of The 1701 Project, a venture led by The Yale Historical Review.
Few painters have achieved success so early and remained so successful throughout their lives as Velazquez. Even in his teens he was acclaimed as a master painter. By the age of 24 he had become Court Painter to King Philip IV. For nearly 40 years he produced an incomparable series of the king and of other figures at court. H e created an art as moving and as varied as any in Europe and less comfined to its age than many other, seemingly freer, painters.
ART102Art History IIUnit 5 LectureAge of Enlightenment.docxfestockton
ART102
Art History II
Unit 5 Lecture
Age of Enlightenment
1750-1793
Age of Romanticism
1793-1848
David’s painting is the quintessential example of
Neo-Classicism, a style of severe realism, precise
details, and subject matter derived from antiquity.
The subject is based on a story of betrayal, where
three men must fit to the death, and their women
react and mourn. It is a powerful image inspired by
the Revolutionary atmosphere of France.
Age of Enlightenment
1750-1793
The Oath of Horatii
Voltaire
Cupid and Psyche
The Death of Marat
The Death of
General Wolfe
Jaques-Louis David
The Oath of Horatii
Ca. 1783-1784
Oil on canvas
Musee du Louvre, Paris
Age of Romanticism
1793-1848
Voltaire, a NeoClassical writer and philosopher, was
a key element to the shift in power in France during
the French Revolution.
These leaders believed in meritocracy over privilege,
and rule by democracy instead of aristocracy.
Here, Voltaire is portrayed near the end of his life,
wearing a ancient Roman-style toga, symbolizing the
role models of Ancient philosophers like Socrates
and Aristotle.
Jean-Antoine Houdon
Voltaire
Ca. 1781
Terra cotta for marble original
Musee Voltaire, Switzerland
Age of Enlightenment
1750-1793
The Oath of Horatii
Voltaire
Cupid and Psyche
The Death of Marat
The Death of
General Wolfe
Age of Romanticism
1793-1848
In the Neoclassical tradition, Canova creates a
stunning sculpture of Cupid and Psyche in the
ancient Roman tradition. The figures are rendered to
perfection, and the moment depicted is emotional
and powerful.
Antonio Canova
Cupid and Psyche
Ca. 1787-1793
Marble
Musee du Louvre, Paris
Age of Enlightenment
1750-1793
The Oath of Horatii
Voltaire
Cupid and Psyche
The Death of Marat
The Death of
General Wolfe
Age of Romanticism
1793-1848
David returns and becomes a powerful voice for the
Revolution in France. This is an image of a Marat, a
Revolutionist murdered in his bathtub.
He is no longer using ancient Roman references
or styles, but instead leading the way into a new
approach to painting.
This is considered to be one of the first truly
modern paintings, because David is taking the
politics of his day and revealing the horror behind it.
Jacques Louis David
The Death of Marat
Ca. 1793
Oil on canvas
Royal Museums of Fine Arts, Belgium
Age of Enlightenment
1750-1793
The Oath of Horatii
Voltaire
Cupid and Psyche
The Death of Marat
The Death of
General Wolfe
Age of Romanticism
1793-1848
In America, historical paintings were using
contemporary events as their subject. Benjamin
West, an English painter, shows the people wearing
modern clothes instead of ancient costumes, and
the public was initially outraged because they
aren’t wearing Roman costumes. West defined
the contemporary history painting by defying the
Neoclassical tradition.
Benjamin West
The Death of General Wolfe
Ca. 1770
Oil on canvas
National Gallery of Canada, Ottowa
Age ...
big and small, lined and soft, round and angular
of felt or velvet
adorned with fur, embroidery, gorgeous bird feathers, ribbons, stones according to the owner’s fortune
grands et petits, doublés et doux, ronds et angulaires,
en feutre ou en velours,
ornés de fourrure, broderies, plumes d'oiseaux magnifiques, de rubans, pierreries selon la fortune du propriétaire ...
Recognised as the most beautiful woman in the Mediterranean civilisations, hers was the face that launched a thousand ships and inspired the legends ...
Rückenfigur ... back figure in paintings.ppsxguimera
Wanderer above the Sea of Fog is perhaps the most iconic Rückenfigur in German Romantic painting …
Rückenfigur, the back-figure is a pictorial theme with significant power.
Rückenfigur ... back figure in paintings
Rückenfigur ... figure de dos dans la peinture.ppsxguimera
Le Voyageur contemplant une mer de nuages est probablement la Rückenfigur la plus emblématique de la peinture romantique allemande ...
Rückenfigur, la figure de dos est un thème pictural d'une grande puissance.
Has been depicted
in mythological and religious paintings, in still life, vanities, allegories, in the genre painting.
From Caravaggio and Rubens to Millet, through Vermeer, Delacroix, Manet, Moreau …
Panier en osier dans la peinture européenne.ppsxguimera
A été représenté
dans les peintures mythologiques et religieuses, les natures mortes, vanités, allégories, dans la peinture de genre.
Du Caravage et Rubens à Millet, en passant par Vermeer, Delacroix, Manet, Moreau ...
The Art of Rain_The beauty of rain in paintings..ppsxguimera
The beauty of rain in paintings.
expected or feared, delicate or stormy, metaphorical or very real, the rain has often entered the imagination of artists ...
L’art de la pluie_La beauté de la pluie dans la peinture..ppsxguimera
La beauté de la pluie dans la peinture.
espérée ou redoutée, fine ou orageuse, métaphorique ou bien réelle, la pluie s’est souvent invitée dans l’imaginaire des artistes ...
Medea and the beautiful Argonaut,
the first human Cain
Romulus and Remus nursed by the same she-wolf,
Vulcan who loves Venus who loves Mars
Eve and the Apple of the Tree of Temptation
and
the most human of emotions that inspired the painters
La jalousie dans la peinture européenne.ppsxguimera
Médée et le bel Argonaute,
le premier humain Caïn
Romulus et Remus nourris au sein de la même louve,
Vulcain qui aime Vénus qui aime Mars
Ève et la pomme de l'arbre de la tentation
et
la plus humaine des émotions qui a inspiré les peintres
créatures mi-hommes, mi-chevaux, habitant les forêts et les montagnes
violents et sauvages, avec une morale brutale, et un amour immodéré pour le vin et les femmes
2137ad Merindol Colony Interiors where refugee try to build a seemengly norm...luforfor
This are the interiors of the Merindol Colony in 2137ad after the Climate Change Collapse and the Apocalipse Wars. Merindol is a small Colony in the Italian Alps where there are around 4000 humans. The Colony values mainly around meritocracy and selection by effort.
2137ad - Characters that live in Merindol and are at the center of main storiesluforfor
Kurgan is a russian expatriate that is secretly in love with Sonia Contado. Henry is a british soldier that took refuge in Merindol Colony in 2137ad. He is the lover of Sonia Contado.
Hadj Ounis's most notable work is his sculpture titled "Metamorphosis." This piece showcases Ounis's mastery of form and texture, as he seamlessly combines metal and wood to create a dynamic and visually striking composition. The juxtaposition of the two materials creates a sense of tension and harmony, inviting viewers to contemplate the relationship between nature and industry.
Explore the multifaceted world of Muntadher Saleh, an Iraqi polymath renowned for his expertise in visual art, writing, design, and pharmacy. This SlideShare delves into his innovative contributions across various disciplines, showcasing his unique ability to blend traditional themes with modern aesthetics. Learn about his impactful artworks, thought-provoking literary pieces, and his vision as a Neo-Pop artist dedicated to raising awareness about Iraq's cultural heritage. Discover why Muntadher Saleh is celebrated as "The Last Polymath" and how his multidisciplinary talents continue to inspire and influence.
3. MILLAIS, Sir John Everett
Isabella
1849
Oil on canvas, 103 x 142,8 cm
Walker Art Gallery, Liverpool
4. MILLAIS, Sir John Everett
Isabella (detail)
1849
Oil on canvas, 103 x 142,8 cm
Walker Art Gallery, Liverpool
5. MILLAIS, Sir John Everett
Isabella (detail)
1849
Oil on canvas, 103 x 142,8 cm
Walker Art Gallery, Liverpool
6. MILLAIS, Sir John Everett
Isabella (detail)
1849
Oil on canvas, 103 x 142,8 cm
Walker Art Gallery, Liverpool
7. MILLAIS, Sir John Everett
Isabella (detail)
1849
Oil on canvas, 103 x 142,8 cm
Walker Art Gallery, Liverpool
8.
9. MILLAIS, Sir John Everett
A Dream of the Past: Sir Isumbras at the
Ford
1857
Oil on canvas, 125.5 x 171.5cm
Lady Lever Art Gallery, Liverpool
10. MILLAIS, Sir John Everett
A Dream of the Past: Sir Isumbras
at the Ford (detail)
1857
Oil on canvas, 125.5 x 171.5cm
Lady Lever Art Gallery, Liverpool
11. MILLAIS, Sir John Everett
A Dream of the Past: Sir Isumbras
at the Ford (detail)
1857
Oil on canvas, 125.5 x 171.5cm
Lady Lever Art Gallery, Liverpool
12. MILLAIS, Sir John Everett
A Dream of the Past: Sir Isumbras
at the Ford (detail)
1857
Oil on canvas, 125.5 x 171.5cm
Lady Lever Art Gallery, Liverpool
13.
14. MILLAIS, Sir John Everett
The Knight Errant
1870
Oil on canvas, 184 x 135 cm
Tate Gallery, London
15. MILLAIS, Sir John Everett
The Knight Errant (detail)
1870
Oil on canvas, 184 x 135 cm
Tate Gallery, London
16. MILLAIS, Sir John Everett
The Knight Errant (detail)
1870
Oil on canvas, 184 x 135 cm
Tate Gallery, London
17. MILLAIS, Sir John Everett
The Knight Errant (detail)
1870
Oil on canvas, 184 x 135 cm
Tate Gallery, London
18.
19. MILLAIS, Sir John Everett
Christ in the House of His
Parents (‘The Carpenter’s
Shop’)
1849–50
Oil on canvas, 86,4 x 139,7 cm
Tate Gallery, London
20. MILLAIS, Sir John Everett
Christ in the House of His
Parents (‘The Carpenter’s
Shop’) (detail)
1849–50
Oil on canvas, 86,4 x 139,7 cm
Tate Gallery, London
21. MILLAIS, Sir John Everett
Christ in the House of His
Parents (‘The Carpenter’s
Shop’) (detail)
1849–50
Oil on canvas, 86,4 x 139,7 cm
Tate Gallery, London
22. MILLAIS, Sir John Everett
Christ in the House of His
Parents (‘The Carpenter’s
Shop’) (detail)
1849–50
Oil on canvas, 86,4 x 139,7 cm
Tate Gallery, London
23. MILLAIS, Sir John Everett
Christ in the House of His
Parents (‘The Carpenter’s
Shop’) (detail)
1849–50
Oil on canvas, 86,4 x 139,7 cm
Tate Gallery, London
24.
25. MILLAIS, Sir John Everett
Ferdinand Lured By Ariel
1849-1850
Oil on canvas, 64.8 x 50.8 cm
Private Collection
26. MILLAIS, Sir John Everett
Ferdinand Lured By Ariel
(detail)
1849-1850
Oil on canvas, 64.8 x 50.8 cm
Private Collection
27. MILLAIS, Sir John Everett
Ferdinand Lured By Ariel
(detail)
1849-1850
Oil on canvas, 64.8 x 50.8 cm
Private Collection
28. MILLAIS, Sir John Everett
Ferdinand Lured By Ariel
(detail)
1849-1850
Oil on canvas, 64.8 x 50.8 cm
Private Collection
29. MILLAIS, Sir John Everett
Ferdinand Lured By Ariel
(detail)
1849-1850
Oil on canvas, 64.8 x 50.8 cm
Private Collection
30. MILLAIS, Sir John Everett
, Featured Paintings in Detail (2)
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31. MILLAIS, Sir John Everett
Ferdinand Lured By Ariel
Ferdinand Lured by Ariel is a painting by John Everett Millais which depicts an episode from Act I, Scene II of Shakespeare's play The Tempest.
It illustrates Ferdinand's lines "Where should this music be? i' the air or the earth?". He is listening to Ariel singing the lyric "Full fathom five thy father lies". Ariel is tipping Ferdinand's
hat from his head, while Ferdinand holds on to its string and strains to hear the song. Ferdinand looks straight at Ariel, but the latter is invisible to him.
The painting was Millais' first attempt at the plein air Pre-Raphaelite style, which he did at Shotover Park near Oxford.
The supernatural green bats were the last additions to the composition. Their grotesque poses put off the patron who had originally undertaken to buy it, since they were a radical
departure from the standard sylph-like fairy figures of the day. They adopt the poses of "see, hear, speak no evil."
The invisibility of Ariel and the bats is suggested by their semi-merger with the green background. The connection with natural camouflage is implied by the presence of the green
lizards hiding in front of the clump in the right foreground.
32. MILLAIS, Sir John Everett
Isabella
Isabella was one of the first paintings made in the new Pre-Raphaelite style. It was begun shortly after the founding of the Pre-Raphaelite Brotherhood in 1848, when Millais was
only 19.
The harshly brilliant colour combined with sharp detail, deliberately unbalanced composition and self-consciously angularity and flatness were all controversial features of Pre-
Raphaelitism. The movement was loosely inspired by painting methods from early Italian painting, from the time before Raphael.
The subject was taken from a poem by John Keats, itself based on a story by the 14th century Italian writer Boccaccio. It tells of the love between Isabella, the sister of wealthy
Florentine merchants, and their poor, low-born apprentice Lorenzo.
The jealous brothers murder Lorenzo, but his body is found by Isabella. She cut off the head and buried it in a pot of basil which she watered with her tears.
The ending is hinted at in this painting by the pot of herbs in the background.
There are also many other signs of the coming violence and tragedy. One of the brothers is angrily cracking nuts. He also aims a kick at Isabella's dog, whilst his own sleeps
beneath his chair. Dogs are often used as symbols of loyalty and fidelity in paintings. The lovers are sharing a blood orange, signifying the later spilling of Lorenzo's blood.
33. MILLAIS, Sir John Everett
The Knight Errant
The Knight Errant is a large painting in which the figures are almost life size.
The moonlit scene apparently depicts an act of medieval chivalry in which one such Knight errant, clad in armour, is on the point of freeing a woman who has been stripped and
tied to a tree.
The tree, a Silver Birch, was commonly identified with the female gender in the nineteenth century and was sometimes referred to as 'Lady Birch'.
Birch twigs were also traditionally used in flagellation. The woman's clothes lie on the ground to the left and her molesters, assumed to be robbers by one critic, are seen fleeing
the scene in the top right corner of the canvas. There is blood on the Knight's sword and the torso of a dead man is visible behind him.
The Knight Errant was Millais's first and only attempt at painting the female nude and critical reviews of the painting focussed on his treatment of the unclothed woman.
Recent x-ray photographs of the picture reveal that her head and torso were originally turned towards the Knight, establishing eye contact. Many poor reviews, coupled with the
fact that the painting did not sell, compelled Millais to cut out the head and chest of the female figure from his canvas and re-work these parts to show the woman turning
modestly away.
34. MILLAIS, Sir John Everett
A Dream of the Past: Sir Isumbras at the Ford
This painting is a fine example of the Pre-Raphaelites’ interest in subjects about medieval chivalry. It shows an ancient knight in golden armour carrying the children of a
poor woodcutter across a river. Sir Isumbras is a character from a 14th century English romance, but this incident does not occur in the poem. It may have been invented by
Millais’s friend the art critic Tom Taylor, who wrote a fake medieval verse explaining the story.
Many critics thought the horse was too big and it was repainted several times, but the landscape background was much admired. Its loose and fluid handling, which
contrasts with the artist’s earlier more detailed landscape style, captures the fleeting effect of twilight. This perhaps suggests a deeper and more spiritual meaning about the
end of the knight’s quest and the transience of worldly deeds.
35. MILLAIS, Sir John Everett
Christ in the House of His Parents (‘The Carpenter’s Shop’)
This is Millais's first important religious subject, showing a scene from the boyhood of Christ. When it was exhibited at the Royal Academy in 1850 it was given no title, but
accompanied by a biblical quotation: 'And one shall say unto him, What are those wounds in thine hands? Then he shall answer, Those with which I was wounded in the house of my
friends.' (Zech. 13:6)
Christian symbolism figures prominently in the picture. The carpenter's triangle on the wall, above Christ's head, symbolises the Holy Trinity. The wood and nails prefigure the
crucifixion, as does the blood on the young Christ's hand, which he has cut on a nail, and which drips onto his foot. The young St John is shown fetching a bowl of water with which to
bathe the wound. This clearly identifies him as the Baptist, and the image is extended by the white dove perched on the ladder, symbol of the Holy Spirit, which descended from Heaven
at the baptism of Christ.
The public reaction to the picture was one of horror and Millais was viciously attacked by the press. The Times described the painting as 'revolting' and objected to the way in which the
artist had dared to depict the Holy Family as ordinary, lowly people in a humble carpenter's shop 'with no conceivable omission of misery, of dirt, of even disease, all finished with the
same loathsome minuteness'. Charles Dickens was one of the most vehement critics, describing the young Christ as 'a hideous, wry-necked, blubbering, red-headed boy, in a bed
gown' .
36. MILLAIS, Sir John Everett
Sir John Everett Millais was an English painter and precocious artist. Learning to draw at age 4, his parents
providing him with private art lessons with a Mr. Bessel. Encouraged by Bessel, the family visited London with an
introduction to the President of the Royal Academy and in 1840, at age eleven, John Millais became the youngest
student ever at the Academy. In 1846, he exhibited his Pizarro Seizing the Inca of Peru at the RA.
Along with Dante Gabriel Rossetti and William Holman Hunt he was a founder of the Pre-Raphaelite Brotherhood,
and was markedly influenced by them and by John Ruskin. His first Pre-Raphaelite picture Lorenzo and Isabella,
the banquet scene from the poem Isabella, or The Pot of Basil about ill-fated love by English poet Keats, figures in
the Academy in 1849, where it was followed in 1850 by Christ in the House of His Parents, Ferdinand Lured by
Ariel which met the full force of the anti-Pre-Raphaelite reaction.
In 1855, he married Euphemia (Effie) Charmers Ruskin, the divorcée of John Ruskin, who bore him 8 children; they
appeared later on many of his pictures. Ruskin continued to praise the artist. Preoccupied with his social
standing, Millais later abandoned the Pre-Raphaelite style, broke with John Ruskin, and began to cater to popular
tastes. The exquisite Gambler’s Wife and The Boyhood of Raleigh mark the transition of his art into its final phase,
displaying brilliant and effective coloring and his effortless power of brushwork. The interest and value of his later
works, largely portraits, lies mainly in their splendid technical qualities.
In 1885, at age 56, Millais was made a baronet, and eleven years later became president of the Royal Academy and
was decorated with many foreign orders and awards. He died the same year, and was buried in St. Paul’s
Cathedral.