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Spring (Apple Blossoms) by John Everett Millais.
Millais is one of the founding members of the 19th century British artist group known as the Pre-Raphaelite Brotherhood. He achieved the most fame of the group and eventually came to lead the Royal Academy he had rebelled against.
Peace Concluded, 1856 by John Everett Millais.
This scene marks the end of the Crimean War and the return home of the soldier to his family.
On the mother's lap, four animals from the toy Noah's Ark represent the four belligerents: Britain (lion), Russia (bear), the Ottoman Empire (turkey), and France (rooster).
The father holds the newspaper that announces the end of the war.
This post is in honor of all the fathers (and mothers) who sadly cannot celebrate with their families because they are still fighting a war.
La Belle Iseult, 1858 by William Morris, The Tate Modern, London.
The model for this work is Jane Burden who later became the wife of William Morris and lived with him at Red House. Note his emphasis on the design and detail in the room, he later gave up painting in favor of interior design and was very successful with Morris & Co.
Peacock Tile Panel by William De Morgan, Formally The Peacock House now run by the Richmond Fellowship, London.
William De Morgan became involved with the Pre-Raphaelite movement through William Morris. Morris, Burne-Jones and others were interested in medieval decoration for their homes and De Morgan's tiles were the perfect addition.
Leisure Hours by John Everett Millais, The Detroit Institute of Arts.
Late in his career, Millais gave up the idealisim of his youth and the PRB and created very popular and sentimental pieces. He was also quite sought after as a portrait artist for his ability to create beautiful paintings around his subjects.
Ophelia by John Everett Millais, 1851-2, The Tate Gallery, London
Millais’ painting of Ophelia done very early in his career is one of the finest works created by the short-lived Pre-Raphaelite Brotherhood and their movement. The legend of the candles, sickness and the model herself would become the PRB’s most often re-told tale. However, it pales in comparison to the work itself when it stopped me in my tracks at the National Gallery in London (on loan from the Tate at the time) and set me on a whole new path for my Master’s thesis.