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Sir John Everett Millais
James Wyatt and His Granddaughter
mk231
1849
Oil on c anvas
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Sir John Everett Millais
Pizarro Seizing the Inca of Peru
mk231
1845
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Sir John Everett Millais
Christ in the House of His Parents
mk231
1850
33x54in
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Sir John Everett Millais
Ophelia
mk231
1852
Oil on canvas
30x44in
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Sir John Everett Millais
Antumn Leaves
mk231
1856
Oil on canvas
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Sir John Everett Millais
Escape of a Heretic
mk231
1559
1857
Oil on panel
25.4x20.3cm
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Sir John Everett Millais
Cherry Ripe
mk231
Oil on canvas
86.3x65.4cm
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Sir John Everett Millais
isabella
mk247
1848 to 49,oil on canvas,40.5x56.25 in,103x143 cm,walker art gallery,liverpool,uk
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Sir John Everett Millais
ophelia
mk247
1851 to 52,oil on canvas,30x44 in,76x112 cm,tate collection,london,uk
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Sir John Everett Millais
autumn leaves
mk247
1855 to 56,oil on canvas,41x29 in,104x74 cm,manchester city art galleries,uk
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Sir John Everett Millais
reklamtavla for pears pears soap med bubblor
mk248 millais barnbarn william fames satt modell for malningen, ursprungligan kallad a childs world. nar foretaget pears kopre den var man tvungen att fa millais tillstand for att mala dit en tval ovb anvanda den som reklam. bubbles forblir en av de mest ikoniska reklamsymboler som nagonsin utformats ocb manga av de fargtryck pears kom att publicera bangde i bem over bela varlden.
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Sir John Everett Millais
ofelia
mk248 prerafaeliterna experimenterade med alla nya fargpigment som fanns att tillga ocb for att uppna maximal kyster glaserades de pa dukar som forst bestrukits med zinkvitt,ofelia kan betraktas som en fargbandelskatalog med koboltbkatt. krappfarg, kromgult, kromocid ocb zinkgult, millais borjade mala bakgrunden i london foljande vinter, lizzie siddal. preafarliternas musa, fick ligga i ett vattenbad som vattenbad som varmdes underifean av oljelampor. iford en gammal brokadklanning. den forkylning bebandlingen ledde till fill fick bennes far att bota konstnarn med skadestandskrav.
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Sir John Everett Millais
Aofeiliya
mk250 Year in 1852. Oil on canvas, 76.2 x 111.8 cm. Lunduitaite Museum of Art.
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Sir John Everett Millais
christ in the house of his parents
1849-50 oil on canvas 86.4x139.7cm
se
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Sir John Everett Millais
la somnambule
mk289 1871 bolton muswum and art gallery
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Sir John Everett Millais
John Everett Millais's wife Effie Gray in middle age holding a copy of the Cornhill Magazine
John Everett Millais's wife Effie Gray in middle age holding a copy of the Cornhill Magazine
around 1860
cjr
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Sir John Everett Millais
Pizarro seizing the Inca of Peru (1845) by John Everett Millais
Pizarro seizing the Inca of Peru (1845) by John Everett Millais
1845(1845)
cjr
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Sir John Everett Millais
Effie Gray
English: John Everett Millais's wife Effie Gray in middle age holding a copy of the Cornhill Magazine
Date around 1860
cyf
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Sir John Everett Millais
Dimensions and material of painting
Dimensions and material of painting: Oil on canvas, 145.2 x 101.1 cm
cjr
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Sir John Everett Millais
Dimensions and material of painting
Dimensions and material of painting: Oil on canvas, 55.5 x 73.5 in
cjr
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| Sir John Everett Millais
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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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