JOHN EVERETT MILLAIS
Biography information from Wikipedia
Millais
 (pronounced Mih-lay) was born in Southampton, England in 1829, of a 
prominent Jersey-based family. His prodigious artistic talent won him a 
place at the Royal Academy schools at the unprecedented age of eleven. 
While there, he met William Holman Hunt and Dante Gabriel Rossetti with 
whom he formed the Pre-Raphaelite Brotherhood (known as the "PRB") in 
September 1848 in his family home on Gower Street, off Bedford Square. This style was promoted by the critic John Ruskin, who had defended the Pre-Raphaelites against their critics.
This style was promoted by the critic John Ruskin, who had defended the Pre-Raphaelites against their critics.  Millais'
 friendship with Ruskin introduced him to Ruskin's wife Effie. Soon 
after they met she modelled for his painting The Order of Release.
Millais'
 friendship with Ruskin introduced him to Ruskin's wife Effie. Soon 
after they met she modelled for his painting The Order of Release.  As
 Millais painted Effie they fell in love. Despite having been married to
 Ruskin for several years, Effie was still a virgin. Her parents 
realized something was wrong and she filed for an annulment. In 1856, 
after her marriage to Ruskin was annulled, Effie and John Millais 
married.
As
 Millais painted Effie they fell in love. Despite having been married to
 Ruskin for several years, Effie was still a virgin. Her parents 
realized something was wrong and she filed for an annulment. In 1856, 
after her marriage to Ruskin was annulled, Effie and John Millais 
married.  He and Effie eventually had eight children including John Guille Millais, a notable naturalist and wildlife artist.
He and Effie eventually had eight children including John Guille Millais, a notable naturalist and wildlife artist.
 As
 Millais painted Effie they fell in love. Despite having been married to
 Ruskin for several years, Effie was still a virgin. Her parents 
realized something was wrong and she filed for an annulment. In 1856, 
after her marriage to Ruskin was annulled, Effie and John Millais 
married.
As
 Millais painted Effie they fell in love. Despite having been married to
 Ruskin for several years, Effie was still a virgin. Her parents 
realized something was wrong and she filed for an annulment. In 1856, 
after her marriage to Ruskin was annulled, Effie and John Millais 
married. 
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.
 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.
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 
Velázquez and Rembrandt as models for artists to follow. 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.
 In his article "Thoughts on our art of Today" (1888) he recommended 
Velázquez and Rembrandt as models for artists to follow. 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.
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.
 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.
 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.
Millais himself argued that as he grew more confident as an artist, he could paint with greater boldness.
Later works, from the 1870s onwards demonstrate Millais' reverence for old masters such as Joshua Reynolds and Velázquez. Many of these paintings were of an historical theme and were further examples of Millais' talent.
 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. Millais 
also achieved great popularity with his paintings of children, notably 
Bubbles (1886) – famous, or perhaps notorious, for being used in the 
advertising of Pears soap – and Cherry Ripe.
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. Millais 
also achieved great popularity with his paintings of children, notably 
Bubbles (1886) – famous, or perhaps notorious, for being used in the 
advertising of Pears soap – and Cherry Ripe. His last project (1896) was to be a painting entitled The Last Trek. 
Based on his illustration for his son's book, it depicted a white hunter
 lying dead in the African veldt, his body contemplated by two Africans.
 His last project (1896) was to be a painting entitled The Last Trek. 
Based on his illustration for his son's book, it depicted a white hunter
 lying dead in the African veldt, his body contemplated by two Africans.
 
More information from
 Many of these paintings were of an historical theme and were further examples of Millais' talent.
 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. Millais 
also achieved great popularity with his paintings of children, notably 
Bubbles (1886) – famous, or perhaps notorious, for being used in the 
advertising of Pears soap – and Cherry Ripe.
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. Millais 
also achieved great popularity with his paintings of children, notably 
Bubbles (1886) – famous, or perhaps notorious, for being used in the 
advertising of Pears soap – and Cherry Ripe. His last project (1896) was to be a painting entitled The Last Trek. 
Based on his illustration for his son's book, it depicted a white hunter
 lying dead in the African veldt, his body contemplated by two Africans.
 His last project (1896) was to be a painting entitled The Last Trek. 
Based on his illustration for his son's book, it depicted a white hunter
 lying dead in the African veldt, his body contemplated by two Africans.
 More information from

| 
madisonpooface wrote on Oct 26, '09 
I am loving all the Pre-Raphaelite paintings today. Great work. Thanks for the post, beautiful | 
| 
aimlessjoys wrote on Oct 25, '09 
Beautiful & touching...his humanity showed through every stroke.  Thanks, Loretta! | 
| 
greenwytch wrote on Oct 25, '09 
standing
 ovation to you, ma'am!   the PRB sounds a bit like the painter's 
version of the rat pack.   wonderful music, too......thank you. | 
| 
forgetmenot525 wrote on Oct 23, '09 
Thanks
 Nemo, I chose these particular paintings because of their 'autumn ' 
colours.............there are loads more paintings by him but i thought 
I'd stick to the 'autumn ' ones for this blog.  | 



 
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