Sir John Everett Millais

Sir John Everett Millais (1829-1896), an English painter of great technical brilliance, was a founder member of the Pre-Raphaelite Brotherhood.

John Everett Millais was born in Southampton. His parents recognized his precocious talent and moved to London when John was 9. That year he won the Silver Medal for drawing from the Royal Society of Arts. At the age of 11 he entered the Royal Academy Schools and won a succession of prizes, including the Gold Medal in 1847.

At this time Millais's close friend William Holman Hunt was formulating new ideas under the influence of John Keats's poetry and John Ruskin's Modern Painters. Dante Gabriel Rossetti, Millais, and Hunt founded the Pre-Raphaelite Brotherhood in 1848. Inspired by this new approach, Millais painted Lorenzo and Isabella (1849), from Keats's Isabella, and Christ in the House of His Parents (1850). The latter painting was exhibited in the academy in 1850; Charles Dickens said it showed "the lowest depths of what is mean, repulsive, and revolting," but it was strongly defended by Ruskin, who subsequently became a close friend of Millais. Their friendship ended in 1855, when Millais married Mrs. Ruskin a year after the annulment of her marriage.

Millais's Huguenot and Ophelia, exhibited in 1852, were immediate public successes, and in 1853 Millais was elected an associate of the Royal Academy. The Pre-Raphaelite Brotherhood began to break up, and Millais's last works in this style, the Blind Girl and Autumn Leaves (both 1856), although among his best, were not well received. His former serious sense of purpose now gave way to a more direct popular appeal. The Black Brunswicker was a deliberate and successful attempt to repeat the popularity of the Huguenot. In 1863 he was elected a royal academician and became established as a fashionable artist.

During the 1860s Millais abandoned his earlier meticulous technique and developed a more fluent style, often painting directly onto the canvas, with few preparatory drawings, and rendering detail with almost impressionistic freedom. Outstanding among his many distinguished portraits is that of Mrs. Bischoffsheim, which illustrates the technical virtuosity that won him many honors and such acclaim at European exhibitions. Perhaps his most widely known portrait was of his grandson "Bubbles"; its enormous popularity as an advertisement infuriated the artist.

Apart from rather sentimental genre subjects, such as the Yeomen of the Guard (1876), Millais painted a series of remarkable landscapes, beginning with Chill October (1870), and his St. Stephen (1894) is an example of the religious themes to which he returned at the end of his life.

In 1885 Millais was created a baronet. He was elected president of the Royal Academy in February 1896 and died in August.

Further Reading

The standard biography of Millais is M.H. Spielmann, Millais and His Works (1898), which was slightly amplified by John Guille Millais, The Life and Letters of Sir John Everett Millais (2 vols., 1899; 3d ed. 1902). A good general background is in Robin Ironside and John Gere, Pre-Raphaelite Painters (1948), and Graham Reynolds, Victorian Painting (1966).

Additional Sources

Millais, John Everett, Sir, bart., Sir John Everett Millais, London: Academy Editions; New York: distributed by Rizzoli International Publications, 1979.

Watson, J. N. P., Millais: three generations in nature, art & sport, London: Sportsman's Press, 1988. □

Millais, Sir John Everett (b Southampton, 8 June 1829; d London, 13 Aug. 1896). English painter and book illustrator. A child prodigy who was hard-working as well as naturally gifted, he became the youngest ever student at the Royal Academy Schools when he was 11, and although he suffered some temporary setbacks in his twenties, his career was essentially one of the great Victorian success stories. In 1848, with Rossetti and Hunt, he founded the Pre-Raphaelite Brotherhood, and he had his share of the abuse heaped on the members until Ruskin stepped in as their champion. (In 1854 Millais married Effie Gray, formerly Ruskin's wife, after this first marriage had been annulled.) In the 1850s his style changed, as he moved away from the brilliantly coloured, minutely detailed Pre-Raphaelite manner to a broader and more fluent way of painting—with a family to support he said he could not afford to spend a whole day working on an area ‘no larger than a five shilling piece’. His subjects changed also, from highly serious, morally uplifting themes to scenes that met the public demand for sentiment and a good story. Many of them featured children, whom he painted with great affection, often modelling them on his own family; The Boyhood of Raleigh (1870, Tate, London), for example, shows his two eldest sons. He became enormously popular, not only with subject pictures such as this (colour reproductions of his best-loved works sold in hundreds of thousands), but also as a portraitist and book illustrator; his drawings for the novels of Anthony Trollope were such a success that Trollope said they influenced the way he developed the characters in sequels.

Millais lived in some splendour on his huge income and was loaded with honours; most notably, in 1885 he was awarded a baronetcy, and in the year of his death was elected president of the Royal Academy. To some contemporaries it seemed that he wasted his talents pandering to public taste, and many 20th-century critics presented him as a young genius who sacrificed his artistic conscience for money. Millais, an easygoing and much-liked man, certainly enjoyed his success, but he was far from being a cynic. He was always proud of his skills (near the end of his career he wrote ‘I may honestly say that I have never consciously placed an idle touch upon canvas’), and few of his contemporaries could match his late works for sheer beauty of handling (Bubbles, 1886, A. & F. Pears Ltd.). See also lay figure.

Millais, Sir John Everett (1829–96). English painter and book illustrator. A child prodigy who was hard-working as well as naturally gifted, he became the youngest ever student at the Royal Academy Schools when he was 11, and although he suffered some temporary setbacks in his twenties, his career was essentially one of the great Victorian success stories. In 1848, with Rossetti and Holman Hunt, he founded the Pre-Raphaelite Brotherhood and had his share of the abuse heaped against the members until Ruskin stepped in as their champion. (In 1855 Millais married Effie Gray, formerly Ruskin's wife, after this first marriage had been annulled.) In the 1850s his style changed, as he moved away from the brilliantly coloured, minutely detailed Pre-Raphaelite manner to a broader and more fluent way of painting—with a family to support he said he could not afford to spend a whole day working on an area ‘no larger than a five shilling piece’. His subjects changed also, from highly serious, morally uplifting themes to scenes that met the public demand for sentiment and a good story. Many of them featured children, whom he painted with great affection, often modelling them on his own family; The Boyhood of Raleigh (1870, Tate, London), for example, shows his two eldest sons. He became enormously popular, not only with subject pictures such as this (colour reproductions of his best-loved works sold in hundreds of thousands), but also as a portraitist and book illustrator; his drawings for the novels of Anthony Trollope were such a success that Trollope said they influenced the way he developed the characters in sequels. Millais lived in some splendour on his huge income and was loaded with honours; most notably, in 1885 he was created a baronet (a rare distinction for a painter) and in the year of his death he was elected president of the Royal Academy. To some contemporaries it seemed that he wasted his talents pandering to public taste, and many 20th-century critics presented him as a young genius who sacrificed his artistic conscience for money. Millais, an easy-going and much-liked man, certainly enjoyed his success, but he was far from being a cynic. He was always proud of his skills (near the end of his career he wrote, ‘I may honestly say that I have never consciously placed an idle touch upon canvas’), and few of his contemporaries could match his late works for sheer beauty of handling (Bubbles, 1886, A. & F. Pears Ltd.).

Millais, John Everett (1829–96). Painter and book illustrator. A scion of an old Norman family, settled in Jersey since the Conquest, Millais was a prodigy. He entered the Royal Academy Schools in 1840 and first exhibited there at 16. In 1848, with Holman Hunt and D. G. Rossetti, he founded the Pre-Raphaelite Brotherhood, of which he was the most technically brilliant. Great hostility was shown to his Christ in the House of his Parents (1850). He was attacked in Blackwood's Magazine, which called the work ‘ugly, graceless and unpleasant’, and by Charles Dickens, later a friend, who thought it ‘mean, odious, revolting and repulsive’. He was defended by John Ruskin, whose former wife he married in 1855. After moving away from the Pre-Raphaelite style, he became a fashionable painter of portraits and costume history and is best known for Ophelia (1852), The Blind Girl (1856), and Bubbles (1886). Elected ARA in 1853, a full academician in 1863, and president of the RA just before his death in 1896, Millais was created baronet in 1885.

June Cochrane

Sir John Everett Millais , 1829-96, English painter. A prodigy, he began studying at the Royal Academy at the age of 11. In 1848, together with William Holman Hunt and Dante Gabriel Rossetti, he initiated the Pre-Raphaelite 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 Ruskin 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).

Millais, John Everett (1829–96). Painter and book illustrator. A scion of an old Norman family, settled in Jersey since the Conquest, Millais was a prodigy. He entered the Royal Academy Schools in 1840 and first exhibited there at 16. In 1848, with Holman Hunt and D. G. Rossetti, he founded the Pre‐Raphaelite Brotherhood, of which he was the most technically brilliant. After moving away from the Pre‐Raphaelite style, he became a fashionable painter of portraits and costume history.

Millais, Sir John Everett (1829–96) English painter and illustrator, founder of the Pre-Raphaelite Brotherhood. His Pre-Raphaelite works, such as Christ in the House of his Parents (1850), show the Brotherhood's liking for righteous subjects. His later, more sentimental style, included Bubbles (1886), which Pears Soap Company used as an advertisement.

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