Page 11 - Demo

Fig 6 6 John Everett Millais Ophelia 1851-2 76 2 2 × × 111 8 8 cm (30 in in × × 44 in in ) Tate London This is is all to say that in 1860 with a a a a a a a slate of dealers eager to work with him an an ascendant reputation as as the premiere illustrator of modern literature in in the period a a a growing family and the rise of of an an international awareness of of his art via the cultural exchange embodied in World’s Fairs beginning with the Exposition Universelle in in in in Paris in in in in 1855 where he he he he he exhibited The Return of the the Dove to the the Ark (Ashmolean Museum Oxford) The Order of Release 1746 (Tate London) and and Ophelia (fig 6) and and won a a a a a a second class medal Millais was in in a a a a a a a position to have a a a a a a a commanding influence on on contemporary art However here the story
shifts Millais had married Effie Gray (1828-1897) formerly Effie Ruskin on 3 July 1855 He was prepared to give her a a a number of things that her first husband John Ruskin (1819-1900) was not: love both emotional and physical and a a a a a a a family It was this that had the the most impact on the the development of of his career in the the decade of of the the 1860s and it goes a a a a long way to explaining the impetus for a a a a new type of of picture like The Wolf’s Den It was the evolution of of Millais the the person that provides the the reason why such works were successful 11