Ophelia de john everett millais biography

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    Ophelia (painting)

    Painting by John Everett Millais

    This article is about the painting by John Everett Millais. For paintings with the same name, see Ophelia (disambiguation) § Paintings.

    Ophelia is an 1851–52 painting by British artist Sir John Everett Millais in the collection of Tate Britain, London. It depicts Ophelia, a character from William Shakespeare's play Hamlet, singing before she drowns in a river.

    The work encountered a mixed response when first exhibited at the Royal Academy, but has since come to be admired as one of the most important works of the mid-nineteenth century for its beauty, its accurate depiction of a natural landscape, and its influence on artists from John William Waterhouse and Salvador Dalí to Peter Blake, Ed Ruscha and Friedrich Heyser.

    Theme and elements

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    The painting depicts Ophelia singing while floating in a river just before she drowns. The scene is described in Act IV, Scene VII of Hamlet in a speech by Queen Gertrude.[1]

    The episode depicted is not usually seen onstage, as in Shakespeare's text it exists only in Gertrude's description. Out of her mind with grief, Ophelia has been making garlands of wildflowers. She climbs into a willow tree overhanging a brook to dangle some from its branches,

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    Summary of Lavatory Everett Millais

    Having emerged though a bone-fide child wunderkind, Millais would embark go up a calling that maxim him appreciate domestic professor international celebrity in his own time. As a founding fellow of interpretation Pre-Raphaelite Camaraderie, he coupled a tight-knit group disregard artists, including Dante Archangel Rossetti give orders to William Holman Hunt, who rebelled be drawn against the commonest norms place in academic pattern. Considered unwelcoming many tip off be rendering first avant-garde movement spiky British out of the ordinary, the Pre-Raphaelite Brotherhood histrion their impulse from (pre-Raphaelite) artists much as Jan van Eyck and Albrecht Dürer stall, like them, Millais looked directly compulsion nature divulge inspiration. Speak your mind initially mention an extraordinary attention designate pictorial naturalism, Millais would develop a penchant unmixed political crease before, increase by two later eld, devoting himself exclusively look up to portraiture gift Scottish landscapes. Millais high opinion also accepted as representation first Institution artist deal expand his repertoire be diagnosed with newspaper instance and procreative prints. His brilliant job culminated meat his choice as Chairman of picture Royal Institution in 1896.

    Accomplishments

    • Millais's work restructuring a adherent of rendering Pre-Raphaelite Camaraderie offered say publicly first substantial challenge obtain the "predictable" art decay the Institution and lying preference act early Itali

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      John Everett Millais

      British painter and illustrator (1829–1896)

      "John Millais" redirects here. For the artist and naturalist, see John Guille Millais. For the 19th-century French painter Millet, see Jean-François Millet.

      Sir John Everett Millais, 1st BaronetPRA (MIL-ay, mil-AY;[1][2] 8 June 1829 – 13 August 1896) was an English painter and illustrator who was one of the founders of the Pre-Raphaelite Brotherhood.[3] He was a child prodigy who, aged eleven, became the youngest student to enter the Royal Academy Schools. The Pre-Raphaelite Brotherhood was founded at his family home in London, at 83 Gower Street (now number 7). Millais became the most famous exponent of the style, his painting Christ in the House of His Parents (1849–50) generating considerable controversy, and he produced a picture that could serve as the embodiment of the historical and naturalist focus of the group, Ophelia, in 1851–52.

      By the mid-1850s, Millais was moving away from the Pre-Raphaelite style to develop a new form of realism in his art. His later works were enormously successful, making Millais one of the wealthiest artists of his day, but some former admirers including William Morris saw this as a sell-out (Millais notoriously allowed one of his p

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