WATTS INDEXThe canonical database of visual culture

Artists›John Everett Millais

John Everett Millais

1829–1896

WA-00016738

PaintingSymbolism

Representation

None documented

Institutional Exhibitions

Works in Collection

Assets Indexed

Authority-backed Facts

Publications Referenced

90%

Profile Completeness

Cultural Positioning

Influence Graph

No influence edges encoded yet.

Authority Records (1)

WikidataQ159606

Selected Institutional Exhibitions

View all exhibitions →

No image

Masters of British Painting, 1800�1950

Museum of Modern Art, New York

1956

Field Verification (3 fields)

1 cross-verified · 2 single-source

Birth yearArtsy· 85%✓
BiographyWikipedia· 88%
NationalityArtsy· 85%

Source Registry (2)

Artsy (bulk)https://www.artsy.net/artist/john-everett-millais
Tier 1 · Institutional85%
Wikidata
Tier 1 · Institutional40%

About

Why this artist matters now

No biography available for John Everett Millais yet.

Graph relationships

Taste overlap and adjacency

Movement

Symbolism

Medium

Painting

Related Artists

12 in graph

Institutional

Museum Collections

The Metropolitan Museum of Art Cleveland Museum of Art Art Institute of Chicago National Gallery of Art

Canonical record

Artworks (18)

Portia

1886 · Oil on canvas

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

The Metropolitan Museum of Art

The Baby-House

1872 · etching on chine applique

plate: 14.5 x 18.5 cm (5 11/16 x 7 5/16 in.) sheet: 26 x 36.5 cm (10 1/4 x 14 3/8 in.)

National Gallery 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 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 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 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 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 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 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

Aeneas Shown the Body of Pallas from Virgil's "Aeneid"

1843 · pen and black ink on original mount

Sheet: 36.1 x 48.7 cm (14 3/16 x 19 3/16 in.); Secondary Support: 43.1 x 55.4 cm (16 15/16 x 21 13/16 in.)

Cleveland Museum of Art

Study of a Pottery Jug [recto]

1842 · watercolor over graphite on wove paper

overall: 9.2 x 14.9 cm (3 5/8 x 5 7/8 in.)

National Gallery of Art

Lovers under a Tree

1840 · graphite on wove paper

overall: 15.8 x 20.9 cm (6 1/4 x 8 1/4 in.)

National Gallery of Art

View all 18 artworks →

Artwork sources (4)

18 published of 18 catalogued · 18 with image

Art Institute Chicago
7 published7 img
The Met
7 published7 img
Nga
3 published3 img
Cleveland Museum of Art
1 published1 img

Per-Artwork Provenance Chains (top 1)

1 entries · 1 sources

Aeneas Shown the Body of Pallas from Virgil's "Aeneid"
1843 · Cleveland · 1 prov
Url Pattern Extraction 2026-05-27·accession_number

Record

Images

Aeneas Shown the Body of Pallas from Virgil's "Aeneid" (1843)

Cleveland Museum of Art

Art Institute of Chicago

Artsy

Met Museum

Relationships

Movements1

Symbolism

Collections5

The Metropolitan Museum of Art Cleveland Museum of Art Art Institute of Chicago National Gallery of Art Christie's

Institutional

Representation & Collections

In collection

The Metropolitan Museum of Art

In collection

Cleveland Museum of Art

In collection

Art Institute of Chicago

In collection

National Gallery of Art

Market

Auction sale history

Houses that have sold works by this artist at auction

Auction house

Christie's

Record

Exhibitions and timeline

Group Exhibition Masters of British Painting, 1800�1950

New York · 1956