John Everett MillaisBritish, 1829–1896Drawing
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Victoria and Albert Museum
London, United Kingdom
It belongs to the collection, but is not on display at present.
- Checked
- 8 days ago
- In this state since
- Sep 25, 2026
- Source
- The museum's own collection data
Particulars
- Accession number
- E.1090-1920
Sources
- Victoria and Albert Museum: the museum's own open data · fetched 8 days ago
- Image: Victoria and Albert Museum — © Victoria and Albert Museum, London
Meanwhile, in the life of John Everett Millais
The whole life1855–1857
After his marriage he changes manner: faster and dearer
Marriage changed Millais: to support his growing family he began to paint more quickly and in greater quantity and to sell his pictures dearly, moving away from Pre-Raphaelite principles. Effie became a powerful promoter of his work, and together they secured commissions and widened their circle; he gained great popularity and a fortune (up to £30,000 a year), while William Morris and other critics accused him of selling out.
1857
Ruskin calls “Sir Isumbras” a catastrophe
Ruskin called Sir Isumbras (1857), in which Millais had departed sharply from Pre-Raphaelite technique, not even a failure but a catastrophe.
19 September 1857
Son born: George Gray Millais
28 November 1858
Daughter born: Effie Gray Millais
13 May 1860
Son born: Mary Hunt Millais
