Millais, Sir John Everett

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Millais, Sir John Everett

(mĭlā`), 1829–96, English painter. A prodigy, he began studying at the Royal Academy at the age of 11. In 1848, together with William Holman HuntHunt, William Holman,
1827–1910, English painter. Hunt was a founder of the Pre-Raphaelite brotherhood and one of its most conscientious exponents. His paintings are often crude in color and laborious in technique, but are completely sincere in their devotion to
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 and Dante Gabriel RossettiRossetti, Dante Gabriel
, 1828–82, English poet and painter; son of Gabriele Rossetti and brother of Christina Rossetti. He attended the Royal Academy and studied painting briefly with Ford Madox Brown. In 1848 he became acquainted with W.
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, he initiated the Pre-RaphaelitePre-Raphaelites
, brotherhood of English painters and poets formed in 1848 in protest against what they saw as the low standards and decadence of British art. The principal founders were D. G. Rossetti, W.
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 movement. His early work shows a painstaking rendering of minute detail and great clarity. His Christ in the Carpenter's Shop (1850; Tate Gall., London) was attacked because of its realism, but his reputation was soon established. He was created a baronet in 1885, and in 1896 he became president of the Royal Academy. John RuskinRuskin, John,
1819–1900, English critic and social theorist. During the mid-19th cent. Ruskin was the virtual dictator of artistic opinion in England, but Ruskin's reputation declined after his death, and he has been treated harshly by 20th-century critics.
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 was a close friend and champion of his work until 1855 when Millais married Mrs. Ruskin, after the nullification of her marriage. His work is well represented in many British galleries. His Portia is in the Metropolitan Museum.

Bibliography

See biographies by J. G. Millais (1899), M. H. Spielmann (1899), A. L. Baldry (1902), and A. Fisk (1923); S. F. Cooper, Effie: The Passionate Lives of Effie Gray, John Ruskin, and John Everett Millais (2011).

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John Everett Millais (1829 - 1896) was an English painter and one of the founders of the influential Pre-Raphaelite Brotherhood.
17 Westfalen, Dusseldorf AUSTRIA Matthew Barney Kunsthalle Vienna through June 8 THE NETHERLANDS John Everett Millais Van Gogh Museum, Amsterdam through May 18 Lucian Freud Gemeentemuseum, The Hague through June 8 RUSSIA Andreas Gursky Moscow House of Photography through May 19 NEXT STOP ORIGINAL VENUE NEW YORK Takashi Murakami Museum for Moderne Kunst, Museum of Frankfurt, Sept.
Focusing mainly on John Everett Millais, William Holman Hunt, Dante Gabriel Rossetti and Edward Burne-Jones, Andres situates the Pre-Raphaelite Brotherhood as "revolutionaries" (4-5).
It emerges that the theme of community looms large in his pages, as evidenced by the great number of words beginning "con-" or "com-." The Gorham Judgement of 1850, the climax of a long-running baptismal controversy between Evangelicals and High Churchmen, a further chapter shows, stimulated a good deal of imaginative work by the Pre-Raphaelite artists John Everett Millais and William Holman Hunt and by the art critic John Ruskin (on whom Professor Wheeler is a particular authority).
John Everett Millais, that were meant to overturn the rigidity of the
Time Present and Time Past: The Art of John Everett Millais. Paul Barlow.
As this book is aimed at literary scholars rather than art historians Bergmann Loizeaux provides an outline history of the Pre-Raphaelite movement established in 1848 by William Holman Hunt, Dante Gabriel Rossetti, John Everett Millais and four of their friends.
The movement itself can be traced to 1848, when seven men, including John Everett Millais, William Holman Hunt and Dante Gabriel Rossetti, founded a secretive society called the Pre-Raphaelite Brotherhood.
In the mid-1800s, John Everett Millais displayed his painting Christ in the House of His Parents.
Millais's biography of his father, The Life of John Everett Millais, 2 vols (London, 1899).
The painting cannot be the work of Sir John Everett Millais, president of the Royal Academy, whom A.
Furthermore, the stylistic clarity characteristic of the PRB, and especially of John Everett Millais' painting, provided a source of critical annoyance.