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Artists›Sir John Everett Millais

Sir John Everett Millais

United Kingdom of Great Britain and Ireland, 1829–1896

WA-00049087

London

Painting

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None documented

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60%

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1 cross-verified · 0 single-source

Is PublishedPath D Subcohort3 Directory 2026-05-23· 100%✓

Source Registry (1)

Aicsub-cohort-3-backfill:aic
Tier 3 · Scraped/inferred50%

About

Why this artist matters now

Sir John Everett Millais was an English painter and a founding member of the Pre-Raphaelite Brotherhood, the artistic movement he came to exemplify through meticulously detailed historical and narrative painting. Entering the Royal Academy Schools at eleven, he demonstrated prodigious technical facility in oil and watercolor, executing works of heightened realism and emotional intensity that departed sharply from academic convention. His painting Ophelia (1851, 52) and Christ in the House of His Parents (1849, 50) established the Brotherhood's commitment to vivid color, precise naturalistic detail, and archaic subject matter. Based in London, Millais became the most celebrated artist of the Pre-Raphaelite circle, bridging Victorian academic tradition with modern decorative ambition.

Source: Aic · Trust score: 50% · Updated 14d ago

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6 in graph

Institutional

Museum Collections

Art Institute of Chicago

Canonical record

Artworks (14)

Portia

1886 · Oil on canvas

49 1/4 x 33 in. (125.1 x 83.8 cm)

The Metropolitan Museum of Art

Going to the Park

1872 · Etching on cream chine, laid down on ivory wove paper (chine collé)

Plate: 18.5 × 13.1 cm (7 5/16 × 5 3/16 in.); Sheet: 35.9 × 25.1 cm (14 3/16 × 9 15/16 in.)

Art Institute of Chicago

The Good Samaritan (The Parables of Our Lord and Saviour Jesus Christ)

1864 · Wood engraving; proof

Image: 5 3/8 × 4 3/16 in. (13.7 × 10.7 cm) Sheet: 7 5/16 × 6 3/16 in. (18.6 × 15.7 cm)

The Metropolitan Museum of Art

The Foolish Virgins (The Parables of Our Lord and Saviour Jesus Christ)

1864 · Wood engraving; proof

Image: 5 1/2 × 4 1/4 in. (13.9 × 10.8 cm) Sheet: 7 7/16 × 6 3/16 in. (18.9 × 15.7 cm)

The Metropolitan Museum of Art

The Labourers in the Vineyard (The Parables of Our Lord and Saviour Jesus Christ)

1864 · Wood engraving; proof

image: 5 1/2 x 4 5/16 in. (13.9 x 10.9 cm) sheet: 7 5/16 x 6 1/16 in. (18.6 x 15.4 cm)

The Metropolitan Museum of Art

The Unjust Judge and the Importunate Widow (The Parables of Our Lord and Saviour Jesus Christ)

1864 · Wood engraving; proof

image: 5 1/2 x 4 5/16 in. (13.9 x 10.9 cm) sheet: 7 5/16 x 6 1/16 in. (18.6 x 15.4 cm)

The Metropolitan Museum of Art

The Unmerciful Servant (The Parables of Our Lord and Saviour Jesus Christ)

1864 · Wood engraving; proof

image: 5 1/2 x 4 5/16 in. (13.9 x 10.9 cm) sheet: 7 5/16 x 6 1/16 in. (18.6 x 15.4 cm)

The Metropolitan Museum of Art

The Wicked Husbandmen (The Parables of Our Lord and Saviour Jesus Christ)

1864 · Wood engraving; proof

image: 5 1/2 x 4 5/16 in. (13.9 x 10.9 cm) sheet: 7 5/16 x 6 1/16 in. (18.6 x 15.4 cm)

The Metropolitan Museum of Art

The Baby House

1863 · Etching on cream chine, laid down on ivory wove paper

Plate: 14.5 × 18.4 cm (5 3/4 × 7 1/4 in.); Sheet: 28 × 38.5 cm (11 1/16 × 15 3/16 in.)

Art Institute of Chicago

Summer Indolence

1861 · Etching on ivory wove paper

Plate: 17.5 × 25.2 cm (6 15/16 × 9 15/16 in.); Sheet: 21.1 × 27 cm (8 5/16 × 10 11/16 in.)

Art Institute of Chicago

Happy Springtime

1860 · Etching on ivory wove chine laid down on off-white wove paper

Image: 13.5 × 9.8 cm (5 3/8 × 3 7/8 in.); Chine: 24.5 × 16.9 cm (9 11/16 × 6 11/16 in.); Sheet: 44.7 × 31.9 cm (17 5/8 × 12 9/16 in.)

Art Institute of Chicago

Bridge of Sighs

1858 · Etching on ivory chine, laid down on ivory wove paper

Plate: 17.6 × 12.5 cm (6 15/16 × 4 15/16 in.); Sheet: 34.9 × 24.5 cm (13 3/4 × 9 11/16 in.)

Art Institute of Chicago

Study for the Head of the Rescuing Lover in Escape of the Heretic

1857 · Graphite and red chalk, on cream wove paper (discolored from ivory) laid down on ivory

25.3 × 19.1 cm (10 × 7 9/16 in.)

Art Institute of Chicago

Design for a Gothic Arch with the Artist and Effie Ruskin Embracing (recto); Design for a Gothic Arch with Effie as an Angel (verso)

1853 · Graphite, with touches of pen and brown ink (recto and verso) on ivory paper

23.2 × 11.5 cm (9 3/16 × 4 9/16 in.)

Art Institute of Chicago

View all 14 artworks →

Artwork sources (2)

14 published of 20 catalogued · 20 with image

Art Institute Chicago
7 publishedof 13 catalogued13 img
The Met
7 published7 img

Record

Images

Wikipedia

Design for a Gothic Arch with the Artist and Effie Ruskin Embracing (recto); Design for a Gothic Arch with Effie as an Angel (verso) (Art Institute of Chicago)

Art Institute of Chicago

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Collections1

Art Institute of Chicago

Institutional

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In collection

Art Institute of Chicago

Record

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