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.   Related Paintings of Sir John Everett Millais :. | Ophelia | A Flood | The Blind Girl | Ferdinand Lured by Ariel | Dimensions and material of painting |
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French , b Paris, 6 Dec 1668; d Rome, 11 Dec 1737
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Ignacio Pinazo Camarlench
Spanish painter , 1849-1916 was a Spanish painter, and one of the most prominent artists of Valencia from the end of the nineteenth century, working in the Impressionist style. Born into a poor family, Pinazo was forced from a young age to assist in supporting the family by practising various trades. He had only attended eight grades when his mother died of the cholera, and young Ignazio was variously employed as a silversmith, a painter of tiles, and a decorator of fans. After his father's death, he lived with his grandparents, and in 1864 enrolled in the San Carlos Academy of Fine Arts, Valencia, earning his living as a hatter. His artistic career started when he was 21, and he achieved his first success in Barcelona three years later. In 1871, work by him was displayed in the National Exhibition of Fine Arts for the first time. He visited Rome twice, the first time (1873) thanks to the sale of a painting. From 1876 to 1881 he lived in that city on a grant. When he returned to his native city in 1874, he abandoned the conventional historic themes he had so far devoted his efforts to, and instead started painting family subjects, nude figures, and scenes from daily life, thereby anticipating Joaqu'n Sorolla y Bastida and Francisco Domingo both in subject and style.