オフィーリア

1850

The scandal over “Christ in the House of His Parents”

Christ in the House of His Parents (1850) was judged excessively realistic, showing a working-class Holy Family in a messy carpentry workshop, and The Times called it outrageous. Millais was undaunted: the critic John Ruskin saw his outstanding talent at once and backed him, and his works were always accepted for the Academy’s exhibitions, however radical.

1851–1852

Elizabeth Siddal sits for “Ophelia”

For Ophelia (1851–52), his best-known painting, Millais portrayed Rossetti’s beloved Elizabeth Siddal as the heroine. The dense, elaborate pictorial surface, weaving the figure into the natural world, has been described as a kind of “pictorial eco-system”.

1853

Elected an associate member of the Royal Academy

In 1853 Millais was elected an associate member of the Royal Academy of Arts.

summer 1853

A summer at Glenfinlas: falling in love with Effie Ruskin

In the summer of 1853 John Ruskin and his wife Effie invited Millais to spend the summer with them at Glenfinlas, where Millais and Effie fell in love. Effie modelled for his The Order of Release; her marriage to Ruskin, which had lasted several years, was annulled after her parents realised something was wrong and she filed for annulment, and Millais and Effie then married.