Victoria K. Walker · Beyond Bloomsbury
Spring (Apple Blossoms), Oil on Canvas, 1859 (Lady Lever Art Gallery) Welcome to Footnotes —curated collections and thoughtful conversations to complement the Chapters in our ongoing Beyond Bloomsbury anthology.
Today, we delve into the paintings of John Everett Millais, a founder of the Pre-Raphaelite Brotherhood and one of the most renowned British artists of the Victorian era.
John Everett Millais: The Order of Release
Open the Anthology
Othello and Desdemona, Oil on Panel, c. 1841-1843 (National Trust, Wightwick Manor) Self Portrait, Oil on Board, 1847 (Walker Art Gallery) The Artist Attending the Mourning of a Young Girl, Oil on Board, c. 1847 (Tate) Cymon and Iphigenia, Oil on Canvas, 1847-1848 (Lady Lever Art Gallery) The Death of Romeo and Juliet, Oil on Millboard, c. 1848 (Manchester Art Gallery) ‘Landscape, Hampstead’, Oil on Panel, c. 1848 (Sudley House, Liverpool) Isabella, Oil on Canvas, 1849 (Walker Art Gallery) Mrs James Wyatt Jr and her Daughter Sarah, Oil on Mahogany, c. 1850 (Tate Britain) Portrait of writer Wilkie Collins, Oil on Panel, 1850 (National Portrait Gallery, London) Ophelia, Oil on Canvas, 1851-1852 (Tate Britain) The Violet’s Message, Oil on Panel, 1854 (Private Collection) Alice Gray, Oil on Canvas, c. 1857 (Private Collection) ‘A Dream of the Past: Sir Isumbras at the Ford’, Oil on Canvas, 1857 (Lady Lever Art Gallery) The Black Brunswicker, by Millais and William Henry Millais, Oil on Canvas, 1860 (Lady Lever Art Gallery) Waking, Oil on Canvas, 1865-1867 (Perth Art Gallery) Stella, Oil on Canvas, 1868 (Manchester Art Gallery) Sisters, Oil on Canvas, 1868 (Private Collection) Rosalind in the Forest, Oil on Board, 1870 (Walker Art Gallery) ‘Effie Millais, née Gray’, Oil on Canvas, 1873 (Perth Art Gallery) The North-West Passage, Oil on Canvas, 1874 (Tate) ‘Sweetest Eyes Were Ever Seen’, Oil on Canvas, 1881 (National Galleries of Scotland: National) The Ornithologist, Oil on Canvas, 1885 (Kelvingrove Art Gallery and Museum) ‘William Ewart Gladstone (1809–98), Prime Minister’, Oil on Canvas, Date Unknown (Government Art Collection) Lingering Autumn, Oil on Canvas, 1890 (Lady Lever Art Gallery) ‘Mary Chamberlain, née Endicott (1864–1957)’, Oil on Canvas, 1891 (Birmingham Museums Trust) John Joseph Jones (1830–1888), Oil on Canvas, Date Unknown (Gallery Oldham) A painter must work for the taste of his own day. How does he know what people will like two or three hundred years hence? I maintain that a man should hold up the mirror to his own times.
John Everett Millais
Read the original on beyondbloomsbury.substack.com ↗
← Posts Newer Older Open ↗ ✦ Next blog 
Comments
Nothing yet. Say the first thing.
Sign in to join the conversation.