Millais, John Everett - The Yeoman of the Guard (1876) - art postcard

Art Postcard
• Work of art title: John Everett Millais
• Artist (if known): The Yeoman of the Guard (1876)
• Media or other details:  oil on canvas
• Publisher / Gallery: The Tate Gallery (London)
• Postally used:  no
• Stamp & postmark details (if relevant): n/a
• Size: modern
• Notes & condition details:

NOTES:

Size: 'Modern' is usually around 6in x 4in / 'Old Standard' is usually around 5 1/2in x 3 1/2in. Larger sizes mentioned, but if you need to know the exact size please ask.

All postcards are not totally new and are pre-owned. It's inevitable that older cards may show signs of ageing and use, particularly sent through the post. Any faults other than normal ageing are noted.

Stock No.: A510

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I will give a full refund if you are not fully satisfied with the postcard.

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Text from the free encyclopedia WIKIPEDIA may appear below to give a little background information:

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Sir John Everett Millais, 1st Baronet, PRA (/'m?le?/; 8 June 1829 – 13 August 1896) was an English painter and illustrator who was one of the founders of the Pre-Raphaelite Brotherhood.^[1]

A child prodigy, at the age of eleven Millais became the youngest student to enter the Royal Academy Schools. The Pre-Raphaelite Brotherhood was founded at his parents' house in London. Millais became the most famous exponent of the style, his painting Christ in the House of His Parents (1850) generating considerable controversy. By the late 1850s Millais was moving away from the Pre-Raphaelite style. His later works were enormously successful, making Millais one of the wealthiest artists of his day. However, they have typically been viewed by 20th-century critics as failures. This view has changed in recent decades, as his later works have come to be seen in the context of wider changes in the art world.

Millais' personal life has also played a significant role in his reputation. His wife Effie was formerly married to the critic John Ruskin, who had supported Millais' early work. The annulment of the marriage and her marriage of Millais have sometimes been linked to his change of style.

...

After his marriage, Millais began to paint in a broader style, which was condemned by Ruskin as ""a catastrophe"". It has been argued that this change of style resulted from Millais's need to increase his output to support his growing family. Unsympathetic critics such as William Morris accused him of ""selling out"" to achieve popularity and wealth. His admirers, in contrast, pointed to the artist's connections with Whistler and Albert Moore, and influence on John Singer Sargent. Millais himself argued that as he grew more confident as an artist, he could paint with greater boldness. In his article ""Thoughts on our art of Today"" (1888) he recommended Velázquez and Rembrandt as models for artists to follow. Paintings such as The Eve of St. Agnes and The Somnambulist clearly show an ongoing dialogue between the artist and Whistler, whose work Millais strongly supported. Other paintings of the late 1850s and 1860s can be interpreted as anticipating aspects of the Aesthetic Movement. Many deploy broad blocks of harmoniously arranged colour and are symbolic rather than narratival. From 1862, the Millais family lived at 7 Cromwell Place, Kensington, London.^[6]

Later works, from the 1870s onwards demonstrate Millais's reverence for Old Masters such as Joshua Reynolds and Velázquez. Many of these paintings were of an historical theme and were further examples of Millais's talent. Notable among these are The Two Princes Edward and Richard in the Tower (1878) depicting the Princes in the Tower, The Northwest Passage (1874) and the Boyhood of Raleigh (1871). Such paintings indicate Millais's interest in subjects connected to Britain's history and expanding empire. Millais also achieved great popularity with his paintings of children, notably Bubbles (1886) – famous, or perhaps notorious, for being used in the advertising of Pears soap – and Cherry Ripe. His last project (1896) was to be a painting entitled The Last Trek. Based on his illustration for his son's book, it depicted a white hunter lying dead in the African veldt, his body contemplated by two Africans.

type=printed postcards

theme=artists signed

sub-theme=art

number of items=single

period=1945 - present

postage condition=unposted