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Sir John Everett Millais
reklamtavla for pears pears soap med bubblor
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mk248 millais barnbarn william fames satt modell for malningen, ursprungligan kallad a childs world. nar foretaget pears kopre den var man tvungen att fa millais tillstand for att mala dit en tval ovb anvanda den som reklam. bubbles forblir en av de mest ikoniska reklamsymboler som nagonsin utformats ocb manga av de fargtryck pears kom att publicera bangde i bem over bela varlden.
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Sir John Everett Millais
ofelia
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mk248 prerafaeliterna experimenterade med alla nya fargpigment som fanns att tillga ocb for att uppna maximal kyster glaserades de pa dukar som forst bestrukits med zinkvitt,ofelia kan betraktas som en fargbandelskatalog med koboltbkatt. krappfarg, kromgult, kromocid ocb zinkgult, millais borjade mala bakgrunden i london foljande vinter, lizzie siddal. preafarliternas musa, fick ligga i ett vattenbad som vattenbad som varmdes underifean av oljelampor. iford en gammal brokadklanning. den forkylning bebandlingen ledde till fill fick bennes far att bota konstnarn med skadestandskrav.
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Sir John Everett Millais
Aofeiliya
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mk250 Year in 1852. Oil on canvas, 76.2 x 111.8 cm. Lunduitaite Museum of Art.
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Sir John Everett Millais
christ in the house of his parents
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1849-50 oil on canvas 86.4x139.7cm
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Sir John Everett Millais
la somnambule
new23/Sir John Everett Millais-395769.jpg
mk289 1871 bolton muswum and art gallery
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Sir John Everett Millais
John Everett Millais's wife Effie Gray in middle age holding a copy of the Cornhill Magazine
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John Everett Millais's wife Effie Gray in middle age holding a copy of the Cornhill Magazine
around 1860
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Sir John Everett Millais
Pizarro seizing the Inca of Peru (1845) by John Everett Millais
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Pizarro seizing the Inca of Peru (1845) by John Everett Millais
1845(1845)
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Sir John Everett Millais
Effie Gray
new24/Sir John Everett Millais-835653.jpg
English: John Everett Millais's wife Effie Gray in middle age holding a copy of the Cornhill Magazine
Date around 1860
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Sir John Everett Millais
Dimensions and material of painting
new24/Sir John Everett Millais-565686.jpg
Dimensions and material of painting: Oil on canvas, 145.2 x 101.1 cm
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Sir John Everett Millais
Dimensions and material of painting
new24/Sir John Everett Millais-997693.jpg
Dimensions and material of painting: Oil on canvas, 55.5 x 73.5 in
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Sir John Everett Millais
Dimensions and material of painting
new24/Sir John Everett Millais-754535.jpg
Dimensions and material of painting: Oil on canvas, 108 x 155 cm
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Sir John Everett Millais
Glen Birnam
new24/Sir John Everett Millais-695488.jpg
Oil on canvas, 145.2 x 101.1 cm
Date 1890-91
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Sir John Everett Millais
Chill October
new24/Sir John Everett Millais-768379.jpg
Oil on canvas, 55.5 x 73.5 in
Date 1870(1870)
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Sir John Everett Millais
Dimensions and material of painting
new24/Sir John Everett Millais-538788.jpg
Oil on canvas, 108 x 155 cm
Date 1892(1892)
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Sir John Everett Millais
Spring
new24/Sir John Everett Millais-486578.jpg
Oil on canvas, 43-1/2 x 68 in
Date 1856-59
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Sir John Everett Millais
Spring
new24/Sir John Everett Millais-593638.jpg
Oil on canvas, 43-1/2 x 68 in
Date 1856-59
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Sir John Everett Millais
Blow Thou Winter Wind
new24/Sir John Everett Millais-433357.jpg
Oil on canvas, 108 x 155 cm
Date 1892(1892)
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Sir John Everett Millais
Winter Fuel
new24/Sir John Everett Millais-483386.jpg
Oil on canvas, 194.5x 149.5 cm
Date 1873(1873)
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Sir John Everett Millais
The Martyr of the Solway
new24/Sir John Everett Millais-844453.jpg
ca. 1871
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Sir John Everett Millais
Winter Fuel
new24/Sir John Everett Millais-343689.jpg
Oil on canvas, 194.5x 149.5 cm
Date 1873(1873)
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Sir John Everett Millais
The Vale of Rest
new25/Sir John Everett Millais-577378.jpg
1858(1858)
Medium Oil on canvas
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Sir John Everett Millais
Christus im Hause seiner Eltern
new25/Sir John Everett Millais-934594.jpg
1850(1850)
Medium Oil on canvas
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Sir John Everett Millais
The Nest
new25/Sir John Everett Millais-734796.jpg
1887(1887)
Medium Oil on canvas
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Sir John Everett Millais
North-West Passage
new25/Sir John Everett Millais-954843.jpg
oil on canvas
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Sir John Everett Millais
John Ruskin, portrait
new25/Sir John Everett Millais-599967.jpg
Oil on canvas, 78.7 x 68 cm, arched top.
Date 1853-1854
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Sir John Everett Millais
Christ in the House of His Parents
new25/Sir John Everett Millais-353765.jpg
1849(1849)
Medium oil on canvas
Dimensions Height: 864 cm (340.2 in). Width: 1,397 cm (550 in).
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Sir John Everett Millais
Mrs James Wyatt Jr and her Daughter Sarah
new25/Sir John Everett Millais-858669.jpg
c. 1850(1850)
Medium oil on mahogany
Dimensions Height: 353 cm (139 in). Width: 457 cm (179.9 in).
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Sir John Everett Millais
Hearts are Trumps
new25/Sir John Everett Millais-937439.jpg
1872(1872)
Medium oil on canvas
Dimensions Height: 1,657 cm (652.4 in). Width: 2,197 cm (865 in).
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Sir John Everett Millais
Dew-Drenched Furze
new25/Sir John Everett Millais-987989.jpg
1889(1889)
Medium oil on canvas
Dimensions Height: 173.2 cm (68.2 in). Width: 123 cm (48.4 in).
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Sir John Everett Millais
The Vale of Rest
new25/Sir John Everett Millais-976453.jpg
1858(1858)
Medium oil on canvas
Dimensions Height: 102.9 cm (40.5 in). Width: 172.7 cm (68 in).
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Sir John Everett Millais
British 1829-1896 Sir John Everett Millais Galleries After his marriage, Millais began to paint in a broader style, which was condemned by Ruskin as "a catastrophe". It has been argued that this change of style resulted from Millais' need to increase his output to support his growing family. Unsympathetic critics such as William Morris accused him of "selling out" to achieve popularity and wealth. His admirers, in contrast, pointed to the artist's connections with Whistler and Albert Moore, and influence on John Singer Sargent. Millais himself argued that as he grew more confident as an artist, he could paint with greater boldness. In his article "Thoughts on our art of Today" (1888) he recommended Vel??zquez and Rembrandt as models for artists to follow. The Two Princes Edward and Richard in the Tower (1878) The Boyhood of Raleigh (1871)Paintings such as The Eve of St. Agnes and The Somnambulist clearly show an ongoing dialogue between the artist and Whistler, whose work Millais strongly supported. Other paintings of the late 1850s and 1860s can be interpreted as anticipating aspects of the Aesthetic Movement. Many deploy broad blocks of harmoniously arranged colour and are symbolic rather than narratival. Later works, from the 1870s onwards demonstrate Millais' reverence for old masters such as Joshua Reynolds and Vel??zquez. Many of these paintings were of an historical theme and were further examples of Millais' talent. Notable among these are The Two Princes Edward and Richard in the Tower (1878) depicting the Princes in the Tower, The Northwest Passage (1874) and the Boyhood of Raleigh (1871). Such paintings indicate Millais' interest in subjects connected to Britain's history and expanding empire. His last project was to be a painting depicting a white hunter lying dead in the African veldt, his body contemplated by two indifferent Africans. This fascination with wild and bleak locations is also evident in his many landscape paintings of this period, which usually depict difficult or dangerous terrain. The first of these, Chill October (1870) was painted in Perth, near his wife's family home. Many others were painted elsewhere in Perthshire, near Dunkeld and Birnam, where Millais rented grand houses each autumn in order to hunt and fish. Millais also achieved great popularity with his paintings of children, notably Bubbles (1886) ?C famous, or perhaps notorious, for being used in the advertising of Pears soap ?C and Cherry Ripe.
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