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| 1853 Sir John Everett Millais Self-Portrait |
John Everett Millais was an English painter and book illustrator (1829 - 1896). 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.
For full biographical notes see part 1, and for earlier works, see parts 1 and 2 also.
This is part 3 of a 10-part post on the works of Millais:
1853-54 Modern Life:
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| 1853 Accepted pen and brown ink 25.1 x 17.5 cm Yale Centre for British Art, New Haven, CT |
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| 1853 Married for Love pen and black and brown ink 24.7 x 17.5 cm The British Museum, London |
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| 1853 Married for Rank graphite, pen and black and brown ink on paper 24.1 x 17.1 cm The British Museum, London |
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| 1853 Rejected pen and brown ink on medium, slightly textured, cream wove paper 25.1 x 17.5 cm Yale Centre for British Art, New Haven, CT |
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| 1853 The Blind Man pen and brown ink and graphite on moderately thick, slightly textured, cream wove paper 25.4 x 35.6 cm Yale Centre for British Art, New Haven, CT |
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| 1853 The Ghost at the Wedding Ceremony pencil, pen and ink on paper 50 x 45 cm ( framed ) © Victoria and Albert Museum, London |
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| 1853 The Race Meeting pen and black ink on off-white paper Ashmolean Museum of Art and Archaeology, Oxford, UK |
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| 1853 Virtue and Vice pen and ink Private Collection |
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| 1853c The Dying Man pen and brown ink and brown wash on medium, slightly textured, cream wove paper 20 x 24.4 cm Yale Centre for British Art, New Haven, CT |
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| 1854 Retribution pen and brown ink on paper 21.4 x 27.5 cm The British Museum |
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| 1854 William Monteith watercolour and whitening over graphite on paper 25.7 x 21.9 cm The Fitzwilliam Museum, Cambridge, UK |
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| 1854-55 L'Enfant du Regiment ( The Random Shot ) oil on paper laid down on canvas, mounted on board 45.1 x 61 cm Yale Centre for British Art, New Haven, CT |
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| 1854-55 Study for "The Blind Girl" graphite on paper 18.7 x 9.2 cm Tate, London |
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| 1854-55 The Blind Girl oil on canvas © Birmingham Museums and Art Gallery, UK |
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| 1855 The Rescue oil on canvas 121.5 x 83.6 cm National Gallery of Victoria, Melbourne |
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| 1855c The Rescue study 16.6 x 12.6 cm © The Samuel Courtauld Trust, The Courtauld Gallery, London |
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| 1855c The Rescue study 25.4 x 25.3 cm © The Samuel Courtauld Trust, The Courtauld Gallery, London |
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| 1855c Wandering Thoughts oil on canvas 35.2 x 24.9 cm Manchester Art Gallery, UK |
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| 1856 Autumn Leaves oil on canvas 104.3 x 74 cm Manchester Art Gallery, UK |
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| 1856 Peace Concluded oil on canvas 91.4 x 116.8 cm Minneapolis Institute of Art |
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| 1856 Study for Peace Concluded graphite 2.8 x 17.8 cm The British Museum, London |
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| 1856 Study for Peace Concluded graphite 16.3 x 22.6 cm The British Museum, London |
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| 1856-57 News from Home oil on panel 35.5 x 25 cm The Walters Art Museum, Baltimore, MD |
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| 1857 A Dream of the Past: Sir Isumbras at the Ford oil on canvas 125.5 x 171.5 cm Lady Lever Art Gallery, Wirral, UK |
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| before 1857 Drawing of Cleopatra. Illustration to "A Dream of Fair Women," for the edition of Tennyson's Poems, published by Edward Moxon, 1857 pen and ink 9.5 x 8.3 cm © Victoria and Albert Museum, London |
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| 1857 Escape of the Heretic oil on canvas 25.5 x 19 cm |
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| 1857 Study for the Head of the Rescuing Lover in Escape of the Heretic graphite and red chalk, on cream wove paper laid down on ivory 25.3 x 19.1 cm Art Institute of Chicago, IL |
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| 1857 Portrait of a Girl ( Sophia "Sophy" Gray ) oil on paper laid down on panel J Paul Getty Museum of Art, Los Angeles, CA |
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| 1857 The Young Mother plate 29 from the Etchings for the Art-Union of London folio, published by the Etching Club, London etching on chine collé 20.6 x 16 cm ( plate ) National Gallery of Victoria, Melbourne |
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| 1857-58 Only a Lock of Hair oil on panel 35.3 x 25 cm Manchester Art Gallery, UK |
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| 1857-58 The Departure of the Crusaders oil on canvas 51.5 x 64 cm Gallery Oldham, UK |
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| 1857c A Woman Bowed in Grief pen and brown ink and graphite on medium, slightly textured, cream wove paper 9.8 x 9.8 cm Yale Centre for British Art, New Haven, CT |
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| 1858 Bridge of Sighs etching on ivory chine, laid down on ivory wove paper 17.6 x 12.5 cm ( plate ) Art Institute of Chicago, IL |
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| 1858 Portrait of Alice Gray oil on canvas 30.5 x 20.3 cm Getty Centre, Los Angeles, CA |
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| 1858 The Proscribed Royalist ( 1953 painting - see part 2 ) mixed method engraving on chine collé 75.9 x 53.7 cm ( plate ) The Metropolitan Museum of Art, New York |
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| 1858-59 The Vale of Rest oil on canvas 102.9 x 172.7 cm Tate, London |
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| 1859 La Fille Bien Gardée wood engraving by Joseph Swain after Millais for "Once a Week" October 1859 The Fitzwilliam Museum, Cambridge, UK |
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| 1859 On the Water wood engraving by Dalziel family after Millais for "Once a Week" July 1859 The Fitzwilliam Museum, Cambridge, UK |
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| 1859 Spring ( Apple Blossoms ) oil on canvas 113 x 176.3 cm Lady Lever Art Gallery, Wirral, UK |
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| 1859 The Crown of Love wood engraving Joseph Swain after Millais for "Once a Week" December 1859 The Fitzwilliam Museum, Cambridge, UK |
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