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Millais: Portraits.


ISBN 10: 0691007195 / ISBN 13: 9780691007199
Editorial: Princeton: Princeton University Press, 1999
Condición: Very Good Encuadernación de tapa dura
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Small quarto, 270 x 220 mm. 220 pp., illustrated throughout, mainly in colour. [[ISBN-10: 0691007195 / ISBN-13: 978-0691007199] Hardbound. A very good bright copy in like dustwrapper. N° de ref. de la librería 27094

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Detalles bibliográficos

Título: Millais: Portraits.

Editorial: Princeton: Princeton University Press

Año de publicación: 1999

Encuadernación: Hardcover

Condición del libro:Very Good

Condición de la sobrecubierta: Very Good

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John Everett Millais (1829-1896) was one of the most celebrated figures of Victorian art. As a young man, he founded the Pre-Raphaelite Brotherhood with Dante Gabriel Rossetti and William Holman Hunt. In later years, he rose to wealth, acclaim, and social prestige as a landscapist, illustrator, and painter of subject and genre pictures and as the most successful British portrait painter of his generation. This lavishly illustrated book, published to accompany a major exhibition at the National Portrait Gallery in London, is the first comprehensive survey of Millais's portraits. It is also a historically important record of High Victorian England, containing the artist's memorable images of such leading political and cultural figures as Gladstone, Disraeli, Tennyson, Ruskin, Carlyle, and Lillie Langtry. The book includes 100 color reproductions as well as essays by eminent scholars that place Millais's work in the context of his public and private life, making this an authoritative and visually compelling study of the artist's extraordinary contributions to portraiture.

Peter Funnell begins the book by describing Millais's astonishing popularity and the artist's public persona, examining his practice as a portraitist and assessing the view common among later critics that Millais's mature work failed to fulfill his youthful promise. Leonée Ormond examines Millais's early portraits, from his precocious boyhood sketches to his magnificent portrait of Ruskin (1853-54) and his paintings of Ruskin's wife, Effie, who famously left her husband to marry Millais. Malcolm Warner interprets Millais's portraits of children--including the elegiac painting Autumn Leaves (1855-56) and the melancholy Nina Lehmann (1869)--as reflections of Millais's nostalgic ideas about the naturalness, innocence, and beauty of childhood. H. C. G. Matthew assesses Millais's portraits of men of power, which include paintings of four Prime Ministers (Gladstone, Disraeli, Salisbury, and Rosebery). Kate Flint discusses Millais's portraits of women, which ranged from likenesses of family and friends to glamorous paintings of the rich, aristocratic, and beautiful. Each essay is followed by its own thematic catalogue of portraits.

The elegantly written essays and stunning reproductions are supplemented by Warner's extensive documentation about individual works of art, drawings from Millais's sketchbooks, and photographs of the artist in his studio. In its words and images, in its scholarship and its accessibility to the general reader, this is an exceptional book about one of the most influential artists of the nineteenth century.


John Everett Millais is still thought of mostly as a Pre-Raphaelite painter, but a much longer portion of his career was devoted to painting the portraits of the Victorian rich and famous. Not only did this prove extraordinarily lucrative--Millais earned what by today's standards would be millions from his portraits--it offered one of the most talented 19th-century painters the chance to fashion powerful and memorable images of the people of his age. This book is the catalog to the 1999 Millais Portrait exhibition debuting at the National Gallery in London and traveling around the United States. It is a much more handsome production than most catalogs. The pictures are beautifully reproduced, and in place of the often bland catalog commentary are essays from four leading art historians on Millais's early and Pre-Raphaelite portraits and his portraits of children, women, and men of power. Altogether, these writings provide an absorbing historical and critical context for the pictures. It is in the contrast between a Millais portrait of an old woman in black (Isabella Heugh, 1872) and the more famous portrait by James Whistler of his mother (Arrangement in Grey and Black No. 1, 1871) that Millais's talent as a portraitist is precisely articulated. Isabella Heugh is not only full of character but the canvass itself is dynamic and involving with its potent color scheme and diagonal composition. Next to it, Whistler's famous image seems flat and denuded. --Adam Roberts

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