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diff --git a/41648-8.txt b/41648-8.txt deleted file mode 100644 index a166a1f..0000000 --- a/41648-8.txt +++ /dev/null @@ -1,1237 +0,0 @@ -The Project Gutenberg EBook of Millais, by Alfred Lys Baldry - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Millais - Masterpieces in Colour Series - -Author: Alfred Lys Baldry - -Editor: T. Leman Hare - -Release Date: December 18, 2012 [EBook #41648] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK MILLAIS *** - - - - -Produced by sp1nd and the Online Distributed Proofreading -Team at http://www.pgdp.net - - - - - - - - -MASTERPIECES IN COLOUR - -EDITED BY--T. LEMAN HARE - - -MILLAIS - -1829--1896 - - - -"MASTERPIECES IN COLOUR" SERIES - - ARTIST. AUTHOR. - BELLINI. GEORGE HAY. - BOTTICELLI. HENRY B. BINNS. - BOUCHER. C. HALDANE MACFALL. - BURNE-JONES. A. LYS BALDRY. - CARLO DOLCI. GEORGE HAY. - CHARDIN. PAUL G. KONODY. - CONSTABLE. C. LEWIS HIND. - COROT. SIDNEY ALLNUTT. - DA VINCI. M. W. BROCKWELL. - DELACROIX. PAUL G. KONODY. - DÜRER. H. E. A. FURST. - FRA ANGELICO. JAMES MASON. - FRA FILIPPO LIPPI. PAUL G. KONODY. - FRAGONARD. C. HALDANE MACFALL. - FRANZ HALS. EDGCUMBE STALEY. - GAINSBOROUGH. MAX ROTHSCHILD. - GREUZE. ALYS EYRE MACKLIN. - HOGARTH. C. LEWIS HIND. - HOLBEIN. S. L. BENSUSAN. - HOLMAN HUNT. MARY E. COLERIDGE. - INGRES. A. J. FINBERG. - LAWRENCE. S. L. BENSUSAN. - LE BRUN, VIGÉE. C. HALDANE MACFALL. - LEIGHTON. A. LYS BALDRY. - LUINI. JAMES MASON. - MANTEGNA. MRS. ARTHUR BELL. - MEMLINC. W. H. J. & J. C. WEALE. - MILLAIS. A. LYS BALDRY. - MILLET. PERCY M. TURNER. - MURILLO. S. L. BENSUSAN. - PERUGINO. SELWYN BRINTON. - RAEBURN. JAMES L. CAW. - RAPHAEL. PAUL G. KONODY. - REMBRANDT. JOSEF ISRAELS. - REYNOLDS. S. L. BENSUSAN. - ROMNEY. C. LEWIS HIND. - ROSSETTI. LUCIEN PISSARRO. - RUBENS. S. L. BENSUSAN. - SARGENT. T. MARTIN WOOD. - TINTORETTO. S. L. BENSUSAN. - TITIAN. S. L. BENSUSAN. - TURNER. C. LEWIS HIND. - VAN DYCK. PERCY M. TURNER. - VELAZQUEZ. S. L. BENSUSAN. - WATTEAU. C. LEWIS HIND. - WATTS. W. LOFTUS HARE. - WHISTLER. T. MARTIN WOOD. - -_Others in Preparation._ - - - -[Illustration: PLATE I.--THE ORDER OF RELEASE. Frontispiece -(Tate Gallery) - -This is one of the pictures which Millais always reckoned among the -greatest of all his successes, and that it has many notable qualities -which justify his preference can certainly not be denied. It is -wonderful in its earnest and thoughtful realism, and it explains its -motive with a completeness that is most convincing. The expression on -the face of the woman who brings the order which frees her husband from -prison is singularly happy in its combination of tenderness for the -wounded Highlander, and triumph over the hesitating gaoler; and there -are many other little touches, like the joyous effusiveness of the dog, -and the unconsciousness of the sleeping child, which amplify and perfect -the pictorial story.] - - - -Millais - -BY A. LYS BALDRY - -ILLUSTRATED WITH EIGHT REPRODUCTIONS IN COLOUR - - -[Illustration] - -LONDON: T. C. & E. C. JACK - -NEW YORK: FREDERICK A. STOKES CO. - - - -LIST OF ILLUSTRATIONS - - - Plate - I. The Order of Release, 1746 Frontispiece - At the Tate Gallery - Page - II. The Boyhood of Raleigh 14 - At the Tate Gallery - - III. The Knight Errant 24 - At the Tate Gallery - - IV. Autumn Leaves 34 - At Manchester Art Gallery - - V. Speak! Speak! 40 - At the Tate Gallery - - VI. The Vale of Rest 50 - At the Tate Gallery - - VII. Ophelia 60 - At the Tate Gallery - - VIII. The North-West Passage 70 - At the Tate Gallery - - - -[Illustration] - - -As a record of some half century of brilliant activity, and of -practically unbroken success, the life-story of John Everett Millais is -in many respects unlike those which can be told about the majority of -artists who have played great parts in the modern art world. He had -none of the hard struggle for recognition, or of the fight against -adverse circumstances, which have too often embittered the earlier years -of men destined to take eventually the highest rank in their profession. -Things went well with him from the first; he gained attention at an age -when most painters have barely begun to make a bid for popularity, and -his position was assured almost before he had arrived at man's estate. -He owed some of his success, no doubt, to his attractive and vigorous -personality, but it was due in far greater measure to the extraordinary -powers which he manifested from the very outset of his career. - -[Illustration: PLATE II.--THE BOYHOOD OF RALEIGH (Tate Gallery) - -It would not be inappropriate to describe the "Boyhood of Raleigh" as -the prologue to the romance of which the last chapter is written in the -"North-West Passage," for in both pictures the artist suggests the -fascination of the adventurous life. Young Raleigh and his boy friend -are under the spell of the story which the sailor is telling them, a -story evidently of engrossing interest and stimulating to the -imagination. The faces of the lads show how inspiring they find this -tale of strange experiences in lands beyond the sea.] - -For there was something almost sensational in the manner of his -development, in his unusual precocity, and in the youthful -self-confidence which enabled him to take a prominent place among the -leaders of artistic opinion while he was still little more than a boy. -So early was the proof given that he possessed absolutely uncommon -powers, that he was not more than nine years old when he began serious -art training; and so evident even then was his destiny that this -training was commenced on the advice of Sir Martin Archer Shee, the -President of the Royal Academy, to whom the child's performances had -been submitted by parents anxious for an expert opinion. The President's -declaration when he saw these early efforts, that "nature had provided -for the boy's success," was emphatic enough to dissipate any doubts -there might have been whether or not young Millais was to be encouraged -in his artistic inclinations; and that this emphasis was justified by -subsequent results no one to-day can dispute. - -The family from which Millais sprang was not one with any past record of -art achievement. His ancestors were men of action and inclined rather to -be fighters than students of the arts. They were Normans who had settled -in Jersey, and had for several hundred years been counted among the more -important landholders in that island, where at different times they held -several estates. From these ancestors Millais derived his energetic -temperament and that militant activity which enabled him in his career -as an artist to triumph signally over established prejudices--the -qualities which undoubtedly helped him to make his power felt even by -the people who were most opposed to him. - -He was born on June 8th, 1829, at Southampton, where his parents were -temporarily living, but his earliest years were spent in Jersey. It was -in 1835 that he began to show definitely his artistic inclinations; he -was at Dinan then with his parents and he amused himself there by making -sketches of the country and people with success so remarkable that even -strangers did not hesitate to recognise him as a budding genius. Three -years later this estimate was confirmed by Sir Martin Archer Shee, and -the boy was then sent to work at the art school which Henry Sass carried -on in Bloomsbury, a school which had at that time a considerable -reputation as a training place for art students, and in which most of -the early Victorian painters received their preliminary education. - -Soon after he entered this school Millais gave a very striking proof of -his precocious ability--he gained the silver medal of the Society of -Arts for a drawing of the antique, and an amusing story is told of the -sensation he created when he appeared at the prize-giving to receive his -award. The Duke of Sussex was presiding at the meeting, and to his -amazement, when the name of "Mr Millais" was called, a small child -presented himself as the winner of the medal. To amazement succeeded -admiration when a consultation with the officials of the Society proved -that this boy of nine was really the successful competitor, and the -presentation was received with great applause by the spectators of the -scene. - -After two years' work under Sass, with some study in the British Museum -in addition, he was admitted into the schools of the Royal Academy, and, -though his age then was only eleven, he began almost immediately to -prove how well he could hold his own in this new sphere of activity. -During the six years over which his studentship at the Academy extended -he won every prize for which he competed, and carried off finally the -gold medal for historical painting with a picture of "The Tribe of -Benjamin Seizing the Daughters of Shiloh." This was in 1847; in the -previous year he had made his first appearance as an exhibitor at the -Academy with an ambitious composition, "Pizarro Seizing the Inca of -Peru," which is now in the Victoria and Albert Museum. His most -ambitious effort at this period was, however, the design, "The Widow -Bestowing her Mite," which he produced in 1847 for the Westminster Hall -competition, a vast canvas crowded with life-sized figures which was -remarkable enough to have made the reputation of a far older and more -experienced painter. - -So far his progress had been without interruption. The rare brilliancy -of his student career had gained him the fullest approval of his -fellow-workers in art, and he was beginning his career as a producer -with every prospect of becoming immediately one of the most popular -artists of his time. Everything was in his favour; he had undeniable -ability, good health, and an attractive personality, and he had proved -in many ways that, young as he was, he could handle large undertakings -with sound judgment and complete confidence. Yet, with what seemed to be -his way smooth before him, he did not hesitate to risk his already -assured position in the art world by setting himself openly in -opposition to the opinions of practically all the men who were then -counted as the leaders of his profession. That he knew what might be the -penalty he would have to pay for this rebellion against the fashion of -the moment can scarcely be doubted, but he was by nature too strenuous a -fighter to be daunted by dangerous possibilities, and his convictions, -once formed, were always too strong to yield to any considerations of -expediency. - -In 1848, he and two friends of about his own age, Dante Gabriel -Rossetti, and William Holman Hunt, conceived the idea of making a -practical protest against the inefficiency of the work which was being -done by the more popular artists of the time. The three youths had come -under the influence of Ford Madox Brown, who with splendid sincerity was -labouring to realise an ideal based not upon fashion, but upon an -earnest desire for truthful expression, and by his example they were -induced to study a purer type of art than any they could see about them. -For this purer art they turned to the works of the Italian Primitives, -whose childlike unconventionality and unhesitating naturalism touched a -responsive chord in the natures of these youths who still retained some -of the simple faith in reality which is one of the charms of childhood. -They decided that for the future they would base their own practice -upon that of the early Italians, and that they would have none of the -artificialities of the age in which they found themselves. Their resolve -was a bold one, but the manner in which they proceeded to make it -effective was bolder still. - -[Illustration: PLATE III.--THE KNIGHT ERRANT (Tate Gallery) - -It is generally recognised that the effective representation of the nude -figure imposes the severest test not only upon an artist's powers of -drawing and painting but upon his sense of æsthetic propriety as well. -The "Knight Errant" proves beyond dispute that Millais was able to pass -this test triumphantly, for the picture is a magnificent technical -achievement and is absolutely discreet in treatment. The subject, a lady -rescued from robbers by a wandering knight, is one which occurs -frequently in mediæval romance.] - -They organised an association, the title of which, "The Pre-Raphaelite -Brotherhood," significantly asserted the nature of their artistic aims, -and as the founders of this association they pledged themselves to seek -the inspiration of their art in those Italian painters who had lived -before Raphael was born, and whose sterling principles were abandoned by -Raphael and his successors. To the three founders of the Brotherhood -were joined two other painters, James Collinson, and F. G. Stephens, a -sculptor, Thomas Woolner and Dante Gabriel Rossetti's brother, William -Michael, who, being a writer, was given the office of secretary. The -Brotherhood, so constituted, was formally inaugurated in the autumn of -1848, and the members at once set to work to prove by their acts the -reality of their belief in the creed they had adopted. - -The first fruits of the movement were seen in the following spring at -the Academy where Millais, who was then, it must be remembered, not -quite twenty, exhibited his "Lorenzo and Isabella," a picture striking -in its originality and in its unusual power. What it implied was not, -however, immediately realised by the public; that the manner of the -painting made it very unlike those by which it was surrounded was -generally recognised, but most people, if they thought about the matter -at all, seem to have assumed that the painter had failed to bring -himself into line with the art of his time through youthful inexperience -rather than by deliberate intention. Time and practice, they considered, -would correct such deficiencies in taste as were apparent in the -"Lorenzo and Isabella," and when the lad had arrived at years of -discretion he would be the first to see the necessity for amendment. - -But the members of the Brotherhood, probably feeling that their initial -effort had not produced quite the effect intended, took other steps to -define their attitude. They started, in January 1850, a magazine called -_The Germ_, which was proffered as the organ of the new movement. It -was sufficiently uncompromising in its confession of faith, and neither -its text nor its illustrations were wanting in clearness of statement. -The magazine, indeed, was what it was intended to be, an open challenge -to all the advocates of the old order of things; and as such it was -taken by the people who saw it. It was only in existence for four -months, but even in that short time it did its work thoroughly, and put -an end to any doubts there were in the minds of art lovers and art -workers concerning the meaning of Pre-Raphaelitism; thenceforward -Millais and his friends had certainly no reason to complain of being -ignored. - -The attention which was given to the pictures they sent to the 1850 -Academy exhibition was, however, by no means what they desired, though, -doubtless, it must have been much what they expected. Millais exhibited -a "Portrait of a Gentleman and his Grandchild," "Ferdinand Lured by -Ariel," and "Christ in the House of His Parents"--better known as "The -Carpenter's Shop"--and these visible embodiments of the principles laid -down in _The Germ_ were received with an absolute storm of abuse. The -audacity of the young painters who sought by works of this character to -discredit the smug and artificial respectability of the art which was -then in vogue excited the critics beyond control and brought forth a -veritable orgie of virulent expostulation. - -Millais, with his mind made up and his fighting instinct fully roused, -was not the man to yield to clamour. He made no concessions, but, -loyally supporting the policy of the Brotherhood, showed at the Academy -in 1851 "The Woodman's Daughter," "Mariana in the Moated Grange," and -"The Return of the Dove to the Ark," all of which were as frank in their -Pre-Raphaelitism as any of the previous year's canvases, and all of -which were greeted with even more vehement disapproval by the literary -custodians of the popular taste. Every possible kind of -misrepresentation of the aims of the young painter and his friends was -employed to discredit their efforts, all sorts of base motives were -imputed to them; ridicule, specious argument, and insult were used in -turn to drive them from the course they had deliberately chosen. Appeals -were even made to the Academy to have the pictures, round which this -controversy was raging, removed summarily from the exhibition as things -unfit to be set before the eyes of the public. But fortunately the -courage of the Brotherhood was proof against everything which the -opposition could do, and neither abuse nor threats had any effect. Yet -Millais at the time suffered for his principles; paintings which had -been commissioned were thrown upon his hands, and his pictures almost -ceased to be saleable. He had every proof that his Pre-Raphaelitism was -commercially a mistake and that, if he persisted, the absolute marring -of his career as a popular painter, was more than likely, yet, so -stubborn was his conviction that he made no change in either his -principles or his practice. - -Happily, as time went on, the position of affairs began to improve; the -opposition exhausted itself by excess of violence, and able champions of -the movement took up the cudgels in defence of the young artists. One of -the most authoritative of these champions was Ruskin, who found in this -apparently forlorn hope infinite possibilities of artistic progress, and -whose declaration that the Pre-Raphaelites were laying "the foundations -of a school of art nobler than the world has seen for three hundred -years" generously expressed his sentiments towards the Brotherhood. He -took the trouble to study their art, and to analyse their motives, so -that he based his advocacy not upon vague sympathy but upon real -understanding of artistic principles which were sane and sound enough to -satisfy even his exacting demand for purity of æsthetic purpose. -That the ultimate success of Pre-Raphaelitism was due to his energetic -interposition cannot, of course, be claimed--the boldness and tenacity -of the artists who had adopted the new creed had more to do with the -improvement which was brought about in the popular attitude--but -Ruskin's counter attack upon the critics had a valuable effect, and -undoubtedly helped greatly to open the eyes of the public. - -[Illustration: PLATE IV.--AUTUMN LEAVES (Manchester Art Gallery) - -As an example of the quiet and unforced sentiment which characterises so -many of the pictures which Millais painted, this delightful composition -deserves particular consideration. It has a certain severity of design -and solemnity of manner, but in its suggestion of the sadness of autumn -there is no trace of morbid sentimentality and no kind of theatrical -effect. The picture is a sort of allegory expressed with exquisite -tenderness, and with a simple frankness of manner which is especially -persuasive.] - -It is interesting, too, to note that just at the moment when the attack -was fiercest the Royal Academy showed its faith in Millais by electing -him an Associate. He is said to have been the youngest student ever -received into the Academy schools, and he must have been one of the -youngest painters ever chosen as an Associate, for after his election it -was discovered that he had not reached the age at which, under the -Academy rules, admission to the Associateship was possible. So his -election had to be declared invalid and he had to wait some few years -longer--until 1853--for the official recognition of his claims. But it -must assuredly be counted to the credit of the Academy that such -readiness should have been shown to admit the ability of a young artist -who was openly in rebellion against the fashions of his time, and whose -work was by implication a condemnation of much that was being done even -by members of the Academic circle. - -His election in 1853 came more as a matter of course; by that date he -had won his way to a position which could scarcely be questioned even by -the bitterest opponents of Pre-Raphaelitism, and he had laid securely -the foundations of that remarkable popularity which he was destined to -enjoy for the rest of his life. It would have been hard, indeed, to deny -that he deserved whatever rewards were due to artistic merit of the -highest order, for his pictures had passed well beyond the stage of -brilliant promise into that of commanding achievement. His "Ophelia" and -"The Huguenot" in 1852, his "Order of Release" and "The Proscribed -Royalist" in 1853, and his exquisite "Portrait of Mr. Ruskin" in 1854, -are to be accounted as masterly performances which would have done full -credit to a painter whose skill had been matured by more than half a -lifetime of strenuous effort, and which, as the productions of a young -man who did not reach his twenty-fifth birthday until the summer of -1854, are of really extraordinary importance. The "Ophelia," "The -Huguenot," and "The Order of Release," can be placed, indeed, among the -most memorable expositions of his artistic conviction, and the "Portrait -of Mr. Ruskin" ranks with the "Ophelia" as one of the most astonishing -examples of searching and faithful study which can be found in modern -art. - -These pictures were followed closely by others not less notable--by "The -Rescue" in 1855, by "Autumn Leaves," "The Random Shot," "The Blind -Girl," and "Peace Concluded," in 1856, and by "Sir Isumbras at the -Ford," "The Escape of a Heretic," and "News from Home," in 1857. Of this -group "Sir Isumbras at the Ford" was the least successful, but "Autumn -Leaves," with its exquisite delicacy of sentiment, and those two -delightful little canvases, "The Blind Girl," and "The Random Shot," are -of supreme interest both on account of the depth of thought which they -reveal and of their splendid executive accomplishment. - -[Illustration: PLATE V.--SPEAK! SPEAK! (Tate Gallery) - -To the man who has loved and lost, the vision of his lady appearing to -him as he lies awake at dawn seems so real and living that he begs her -to speak to him, and stretches out his arms to clasp what is after all -only a creation of his imagination. The dramatic feeling of the picture -is as convincing as its pathos; the painter has grasped completely the -possibilities of his subject, and he tells his story with just the touch -of mystery needed to give it due significance. The management of the -light and shade, and of the contrast between the warm lamplight and the -greyness of the early morning, is full of both power and subtlety.] - -Another great picture appeared in 1859--"The Vale of Rest," which -differed from most of the works which Millais had hitherto produced in -its larger qualities of handling and more serious symbolism. Its special -importance was not fully realised by the artist's admirers when it was -first exhibited, but Millais himself looked upon it as the best thing he -had done; and this opinion has since been generally recognised as -sufficiently well founded. He had not before shown so much solemnity of -feeling nor quite so complete a grasp of the larger pictorial -essentials, though in "Autumn Leaves" there was decidedly more than a -hint of the seriousness of purpose which gave authority and dignity of -style to "The Vale of Rest." - -There was at this time a change coming over his art, a change which -suggested that the stricter limits of Pre-Raphaelitism were a little too -narrow for him now that his youthful enthusiasms were being replaced by -the more tolerant ideas of mental maturity. But he was in no haste to -abandon his earlier principles; he sought rather to find how they might -be widened to cover artistic motives which scarcely came within the -scope of the creed to which the Brotherhood had originally been pledged. -So he alternated between the literalism of "The Black Brunswicker" -(1860), "The White Cockade" (1862), "My First Sermon" (1863), "My -Second Sermon" (1864), and "Asleep" and "Awake," which were shown in -1867 with that daintiest of all his earlier paintings, "The Minuet," and -the sombre suggestion of such imaginative pictures as "The Enemy Sowing -Tares," and the finely conceived "Eve of St. Agnes," of which the former -was exhibited at the Academy in 1865, and the latter in 1863. It seemed -as if he was trying to make up his mind as to the direction he was to -take for the future, testing his powers in various ways, and studying -himself to see how his wishes and his temperament could best be brought -into accord. - -But when in 1868 he broke into the new art world in which he was to -reign supreme for nearly thirty years, his abandonment of the technical -methods which he had adopted in 1849, and used ever since with -comparatively little modification, was as decisive as it was surprising. -In 1867 he was the careful, searching, and literal student of small -details, precise in brushwork, and exactly realistic in his record of -what he had microscopically examined. His "Asleep" and "Awake" were in -his most matter-of-fact vein, almost pedantically accurate in statement -of obvious facts; and even his charming "Minuet" was elaborated with a -care that left nothing for the imagination to supply. In 1868, however, -all this dwelling upon little things, all this studied minuteness of -touch and literal presentation of what was obvious, had suddenly -disappeared. All that remained to him of his Pre-Raphaelitism was the -acuteness of vision which had served him so well for twenty years in -his intimate examination of nature; everything else had gone, his minute -actuality was replaced by large and generous suggestion, his restrained -brushwork by the broadest and most emphatic handling, his realistic view -by a kind of magnificent impressionism which expressed rightly enough -the personal robustness of the man himself. - -What made this change the more dramatic was the absence of any -suggestion in his previous work that he was preparing for an executive -departure of such a marked kind. A diversion into a new class of -subjects, or an inclination towards a more serious type of sentiment, -might perhaps have been looked for from the painter of "The Vale of -Rest," "The Enemy Sowing Tares," and "The Eve of St. Agnes," but even -in the larger manner of these pictures, there was little to imply that -he desired to adopt a new mode of painting. But if the "Souvenir of -Velazquez," "Stella," "The Pilgrims to St. Paul's," and "The Sisters," -which he contributed to the 1868 Academy, are compared with what he had -done before, the full significance of his action can be perceived. - -The "Souvenir of Velazquez," indeed, is one of the most decisive pieces -of fluent brushwork which has been produced by any modern painter of the -British school. It is entirely convincing in its directness and in its -summariness of executive suggestion, and as a masterly performance it is -by no means unworthy to stand beside the works of that master to whom it -was in some sort designed as a tribute. But it has a peculiarly English -charm which Millais grafted with happy discretion on to the technical -manner of the Spanish school, and as a study of childish grace it is -almost inimitably persuasive. The little princesses whom Velazquez -painted were too often robbed of their daintiness by the formality of -the surroundings in which it was their misfortune to be placed, but the -child in this picture by Millais has lost none of her freshness, and, -with all her finery, is still a happy, young, little thing, ready for a -romp as soon as the sitting is over. In the long series of fascinating -studies of child-life which he painted with quite exquisite sympathy, -this one claims a place of particular prominence on account of its -beauty of characterisation, and its entire absence of affectation, quite -as much as it does on account of its qualities as a consummate exercise -in craftsmanship. - -This was the canvas which he finally decided to hand over to the Academy -as his diploma work. He had been promoted to the rank of Academician in -1863, and his intention then was to be represented in the Diploma -Gallery by "The Enemy Sowing Tares," which he regarded as in every way a -sound example of his powers. But his fellow-Academicians, for some not -very intelligible reason, did not agree with him about the suitability -of this picture, and it was, therefore, refused. So he sent them the -"Souvenir of Velazquez" instead, a fortunate choice, for it brought -permanently into a quasi-public gallery what is indisputably an -achievement worthy of him at his best. - -[Illustration: PLATE VI.--THE VALE OF REST (Tate Gallery) - -None of the pictures which can be assigned to the period when Millais -was still a strict adherent to the Pre-Raphaelite creed can be said to -surpass "The Vale of Rest" in depth and purity of feeling; and certainly -none expresses better in its character and manner of treatment the -artist's conception. The same exquisite sentiment, sincere and -dignified, which distinguishes "Autumn Leaves" gives to "The Vale of -Rest" an absorbing interest; and the way in which every detail of the -composition and every subtlety in the arrangement and expression of the -subject have been used to enhance the effect which the artist intended -to produce, claims unqualified admiration.] - -Once started on his new direction as a painter he went forward with -unhesitating confidence in his ability to realise his intentions, and as -the years passed by he added picture after picture to the already large -company of his successes. His admirers, surprised as they were at first -by his startling change of manner, did not hesitate to accept what he -had to offer; indeed the splendid vigour of his work brought him an -immediate increase of popularity, and he was thenceforth recognised at -home and abroad as one of the most commanding figures in the whole array -of British art, as a leader whose authority was not to be questioned. - -In 1869 he exhibited his portrait of "Nina, Daughter of F. Lehmann, -Esq.," "The Gambler's Wife," a "Portrait of Sir John Fowler," and -"Vanessa," a companion picture to his "Stella;" and in 1870 "A Widow's -Mite," "The Boyhood of Raleigh," and "The Knight Errant," with some -other works of less importance. The portrait of Miss Lehmann is one of -the pictures upon which his reputation most securely rests, admirable in -its technical quality and its observation of character; and among the -others "The Boyhood of Raleigh," and "The Knight Errant," are worthiest -of attention because they are treated with great distinction, and have -in large measure that interest which always results from judicious -interpretation of a well-selected subject. - -"The Boyhood of Raleigh," especially, is to be considered on account of -its possession of a certain dramatic sentiment which might easily have -been made theatrical by an artist less surely endowed with a sense of -fitness. But it tells its story with charm and conviction, and there is -in the action of the figures, and in the expressions on the faces, just -the right degree of vitality needed to make clear the pictorial motive. -"The Knight Errant" is, perhaps, less significant as a piece of -invention, but it has a distinct place in the artist's list of -achievements, because it affords one of the few instances of his -treatment of the nude figure on a large scale. It proves plainly enough -that his avoidance of subjects of this class was not due to any -inability on his part to succeed as a flesh painter, for this figure is -beautiful both in colour and handling; it is more probable that the -classic formality and conventionality which public opinion in this -country requires in the representation of the nude did not appeal to a -man with his love of actuality and sincere regard for nature's facts. -Indeed, from the standpoint of the decorative figure painter--of men -like Leighton, or Albert Moore, for instance--the woman that Millais has -represented is too frankly unidealised, too modern in type, and too -realistically feminine. - -But in this disregard of convention there is a kind of summing up of his -beliefs as an artist. Though he had changed the outward aspect of his -art he was still in spirit a Pre-Raphaelite, and a Pre-Raphaelite he -remained to the end of his days. He depended more upon the keenness of -vision natural to him, and assiduously cultivated by years of close -observation, than upon what powers he may have had of abstract -imagining; and he sought to only a limited extent to set down upon his -canvas those mental images which satisfy men who look upon nature -chiefly as a basis for decorative designs. The mental image with him was -a direct reflection of fact, not an adaptation modified and formalised -in accordance with recognised rules, not a fancy more or less remotely -referable to reality; but he had certainly an ample equipment of that -taste which enables the painter to discriminate between the realities -which are too crude and obvious to be worth recording, and those which -by their inherent beauty claim a permanent place in an artist's memory. -He had, too, the judgment to see that the nude, treated as it would -have to be to satisfy his æsthetic conscience, would be too plainly -stated to be entirely acceptable. - -He found a much more appropriate field for the exercise of his -particular capacities by turning to landscape painting. Many of his -earlier figure compositions had been given backgrounds which showed how -well he could manage the complex details of masses of tangled -vegetation, or the broad and simple lines of a piece of rural scenery; -but in 1871 he attempted for the first time a landscape which was -complete in itself and not merely incidental in a picture mainly -concerned with human interest. This landscape, "Chill October," was at -the Academy with his "Yes or No?" "Victory, O Lord," "A Somnambulist," -and the "Portrait of George Grote," and it was welcomed by a host of -admirers as a new revelation of his versatility. It has certainly -qualities which justify the estimation in which it was and is still -held; and though it lacks that imaginative insight into poetic -subtleties which accounts for so much in the work of a master like -Turner, it must always claim the respect of art lovers as a large, -dignified, and sincere study of nature in one of her sadder moods. It is -the reserve of the picture, its reticent realism, that chiefly makes it -memorable, for it is neither imposing in subject nor striking in effect; -but in its broad simplicity there is something rarely fascinating. - -Other nature studies of the same character followed at brief intervals -during the next few years; they added to the interest of the artist's -practice, but they can scarcely be said to have equalled in importance -the portraits and figure subjects which he completed at this stage of -his career. Millais was, of course, far too great a master to have -failed in any branch of artistic practice to which he seriously devoted -himself, but the very capacities which made him so successful as a -painter of the human subject prevented him from looking at open-air -nature with the necessary degree of abstraction. The physical character -of a piece of scenery, its details and individual peculiarities, he -could record with absolute certainty, though the elusive subtleties of -atmosphere, and the charming accidents of illumination, which mean so -much in the poetic rendering of landscape, he dwelt upon hardly at -all. In many of his landscapes the breadth and dignity, the accurate -relation of part to part, the fascinating simplicity of manner, which -are among the greater merits of "Chill October," can be praised without -reservation or hesitation; but the touch of fantasy, of actual -unreality, by which the inspired landscape painter seems to suggest more -truly the real spirit of nature, he hardly ever attempted; and never, it -may fairly be said, with complete success. - -[Illustration: PLATE VII.--OPHELIA (Tate Gallery) - -Realism more searching and more significant than that which Millais -sought for and attained in this small canvas would hardly come within -the bounds of possibility. But the picture is much more than a simple -study of facts; it has an exquisite charm of poetic feeling, and it is -conceived with a full measure of the tenderness needed in a -representation of the most pathetic of all Shakespeare's heroines. Such -a work has a place, definite and indisputable, among the classics of -art, and counts as one of the chief masterpieces of the British School.] - -The years over which his activity as an exponent of pure landscape -extended are, however, memorable because they saw the production of some -of the most triumphant achievements of his maturer life. With his two -landscapes, "Flowing to the Sea," and "Flowing to the River," he -exhibited in 1872 his "Hearts are Trumps," a portrait group which has -become a modern classic; and in 1873 another wonderful portrait, the -three-quarter length of "Mrs. Bischoffsheim." But it was in 1874 that he -showed what is in many ways the greatest of all his paintings, "The -North-West Passage," a work which, if he had done nothing else of -moment, would suffice to place him securely among the master painters of -the world. The head of the old man, who is the central figure in the -picture, is entirely magnificent, and there is much besides in this -canvas which would have been beyond the reach of any one but an artist -of almost abnormal power. This was followed in 1875 by his portrait of -"Miss Eveleen Tennant," and in 1877 by the "Yeoman of the Guard," which -runs "The North-West Passage" close in the race for supremacy. - -At this time, indeed, his productiveness was extraordinary; subject -pictures, portraits, and landscapes appeared in rapid succession, and in -all of them he kept to a level of masterly practice which other men -reach only occasionally and at rare intervals. Between 1873 and 1879 he -painted eight landscapes, all important in scale and interesting in -treatment, but after 1879 he produced no more for nearly ten years, when -he began a fresh series. He was apparently too busy with portraits and -figure subjects to give much time to out-of-door work, and to satisfy -the demands made upon him by art collectors and sitters he must have had -to work his hardest. Yet popularity did not make him careless, and his -hard work diminished neither his freshness of outlook nor his freedom of -expression. Conscientiousness as a craftsman was always one of his -virtues, and the knowledge that he had a host of admirers ready to -accept almost anything he would give them had certainly not the effect -of inducing him to lower his standard. - -In the long list of his paintings, which belong to the period beginning -in 1879 and ending in 1888, several stand out with special -prominence--for example, his portraits of "Mrs. Jopling," and "The Right -Hon. W. E. Gladstone," "Cherry Ripe," and "The Princess Elizabeth," all -in 1879, "The Right Hon. John Bright" in 1880, "Cardinal Newman," -"Alfred, Lord Tennyson," "Sir Henry Thompson," "Cinderella," and -"Caller Herrin'," in 1881, "J. C. Hook, R.A.," and "The Captive," in -1882, "The Marquess of Salisbury" in 1883, "The Ruling Passion," and -another portrait of Gladstone, in 1885, "Bubbles" in 1886, and "The -Marquess of Hartington" in 1887. Some of these were shown at the -Academy, but he was producing far more year by year than could be -exhibited there, so he sent many important works to the Grosvenor -Gallery, and most of his subject pictures to the galleries of the -dealers by whom they were commissioned. - -After 1888 there was some relaxation in his effort; in that year he had -at the Academy only one picture, a landscape, "Murthly Moss," and only -one portrait in each of the years 1889 and 1890, though he showed -several works in other galleries. In 1892 his landscapes "Halcyon -Weather," and "Blow, Blow, thou Winter Wind," were at the Academy, but -after that year he worked no more out-of-doors. Of the canvases painted -during the last three or four years of his life, the most memorable are -his portrait of "John Hare" (1893), "Speak! Speak!" (1895), and "A -Forerunner" (1896), all of which were at the Academy, and "Time the -Reaper" which was at the New Gallery in 1895. "Speak! Speak!" was -purchased by the Chantrey Fund trustees, and is now in the National -Gallery of British Art with the other admirably chosen examples of his -art which were given to the nation by Sir Henry Tate. - -The crowning honour of his life came to him in February 1896, when he -was elected President of the Royal Academy in succession to Lord -Leighton--an honour which was particularly appropriate not only because -of his eminence as an artist, but also because he had been intimately -connected for nearly sixty years with the institution over which he was -then called to preside. To this connection he referred in his speech at -the Academy banquet in 1895, at which he took the chair in the place of -Leighton whose illness prevented him from occupying his accustomed -position. The words which Millais used on this occasion expressed -generously and affectionately his sense of obligation to the Academy by -which he had been trained in his boyhood, and from which he had received -encouragement and support at the most critical period of his career, and -declared with characteristic frankness that he owed to it a debt of -gratitude which he never could repay. - -To those, however, who know how loyal he was to the institution that he -loved so well it would seem that the debt was, indeed, fully paid. Few -men have done more to uphold the repute of the Academy, few have by the -brilliancy of their powers and their charm of personality done it more -credit. That Leighton was the ideal President can be readily admitted, -but Millais, as his successor, would have carried on a great tradition -with dignity and sympathy and with no diminution of his predecessor's -generous tolerance and earnest sense of artistic responsibility. He -would have kept the Academy on broad lines, and by his impatience of -empty formalities he would have prevented it from losing touch with -the movements in modern art. - -[Illustration: PLATE VIII.--THE NORTH-WEST PASSAGE (Tate Gallery) - -Even if the "North-West Passage" were not the masterly piece of painting -that it is, it would still be a picture of importance because it appeals -so vividly to the national spirit of adventure. The old Arctic explorer, -no longer able to satisfy his still strenuous inclinations, listens to -the record of his past activities which is being read to him by his -daughter, and yearns once more to battle with the hardships which must -be faced by the traveller in the frozen north. The old man's head, one -of the finest technical achievements in modern art, was painted from -Trelawny, the friend of Byron, and Shelley.] - -But, unfortunately, he was destined to hold his honourable office for -but a brief time. Even before Leighton's death he had been suffering -from a throat trouble which not long after was pronounced to be cancer; -and in the months that followed immediately on his election the disease -made rapid progress. Not long after the opening of the 1896 Academy -Exhibition his condition became so serious that an immediately fatal -result was expected; but by an operation he obtained some temporary -relief and his life was prolonged for a few weeks. This, however, was -only a brief respite; he died on August 13, and was buried a week later -in St. Paul's Cathedral, where little more than six months before he -had followed his old friend's body to the grave. - -To speak of his death as premature would be scarcely a misapplication of -the word. Although Millais had completed his sixty-seventh year he was -still in art a young man. His vigour had not waned, and there was no -perceptible diminution of his artistic vitality even in those last works -which he painted under the shadow of nearly impending death. To a man of -his splendid physique and buoyant temperament age would have come -slowly, and the inevitable degeneration of his powers would have not -begun for many more years. The possibility of great achievement remained -to him, and it would be true to say that his death robbed us of much -which would have added greatly to the sum total of British art. Yet we -may be grateful to fate for allowing him to develop the promise of his -youth in the splendour of his maturer years; it is so often the lot of -the precocious genius to die young with his mission but half fulfilled. -If death had come to Millais as it did to Bonington or Fred Walker, our -loss would have been sad indeed. - -In discussing Millais as an artist the part which his personality played -in making him what he was must by no means be overlooked. Something of -the vitality and the virility of his art was due to the way in which he -kept touch with the life about him, and interested himself in people and -things. He was no recluse who fed in secret upon his own ideas, or -narrowed his outlook by hedging himself round with prejudices and -preferences for one special class of artistic material. Instead, he went -out into the world and acquired his impressions of humanity in all -directions and at first hand, finding much pleasure in association with -his fellow-men. To his own human nature he gave free rein; he was a keen -sportsman, a lover of children--of whose ways he had, as he proved in -scores of pictures, a perfect understanding--and a man who was always -happy in congenial society, and always welcome. He lived his life, in -fact, largely, genially, and wholesomely, and he was as much unspoiled -by the prosperity which came to him in his maturer years as he was -unshaken by the opposition which he had to face in that brief period of -his youth when, as he used to say himself, he was "so dreadfully -bullied." - -That this brief taste of unpopularity did him good rather than harm can -well be imagined, for without making him bitter it tested with some -severity his tenacity and his power to fight vigorously for what he -believed to be right--and such a test has always its value as a means of -developing the finer qualities of a strong man, or as a warning to the -weak one of the need for self-examination. Millais did not require any -incentive to self-examination, because he knew well enough what he -intended to do when he deliberately set up his own conviction against -that of the men who practically ruled British art, and he did not enter -upon the fight with any idea of backing out if he found it was likely -to go against him. But after the kind of triumphal progress which he -made through the Academy schools, the discovery that the wider public -was not disposed to accept him as infallible was possibly necessary to -prove to him that successes as a student did not give him, as a matter -of course, an assured place among the chiefs of his profession. He was -taught roughly, and in a way that roused both his fighting spirit and -his pride, that this position was to be won only by sustained and -strenuous effort; and this lesson he never forgot. Its effects persisted -long after he had become a popular favourite, and they helped, it can be -fairly believed, to strengthen his character and to keep him from that -easy contentment with his own works which is the first step towards -degeneration. He did not degenerate after he had secured what he had -been striving for; although he had silenced his critics, and had won -them over to his side, he continued to sit in severest judgment upon -himself, and to the last he exacted from his own capacities the utmost -they could give him. - - -The plates are printed by BEMROSE & SONS, LTD., Derby and London - -The text at the BALLANTYNE PRESS, Edinburgh - - - - - -End of the Project Gutenberg EBook of Millais, by Alfred Lys Baldry - -*** END OF THIS PROJECT GUTENBERG EBOOK MILLAIS *** - -***** This file should be named 41648-8.txt or 41648-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/1/6/4/41648/ - -Produced by sp1nd and the Online Distributed Proofreading -Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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