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Titel: Millais: Portraits
Verlag: National Portrait Gallery Publications, London
Zustand: Very Good
Zustand des Schutzumschlags: Very Good
Art des Buches: Used
Hardcover. Published for the exhibition at the National Portrait Gallery, London from 19th February to 6th June 1999. Superficial marks on jacket. One or two minor scores on boards. Minor nick on leading edge of front pastedown. Pages are clean and contents are clear throughout. Binding is sound. HJW. Buchnummer des Verkäufers 429139
Inhaltsangabe: A study of John Everett Millais' Pre-Raphaelite and later portraits, this text presents a critical analysis of Millais' portraiture across the breadth of his career. The book considers how the portraits related to and reflected Victorian society as a whole, from his portraits of children, to his historically important depictions of men of power within the Victorian pantheon, and his portraits of women.
Rezension: John Everett Millais is still thought of mostly as a Pre-Raphaelite painter; but a much longer portion of his career was devoted to painting the portraits of the Victorian rich and famous. Not only did this prove extraordinarily lucrative--Millais earned what was by today's standards millions from his portraits--but it gave one of the most talented of all 19th-century painters the chance to fashion powerful and memorable images of the people of the age. This book is the catalogue to the 1999 Millais Portrait exhibition at the National Portrait Gallery in London, but it is a much more handsome production than most catalogues; the pictures are beautifully reproduced, and, in place of the usual bland catalogue commentary, essays from four leading art historians have been gathered together: on Millais' Early and Pre-Raphaelite portraits, his portraits of children, of men and of women (this last a fascinating piece by Kate Flint). Altogether these provide an absorbing historical and critical context for these pictures. For my money it is the contrast between a Millais portrait of an old lady in black ( Isabella Heugh, 1872) and the more famous portrait by James Whistler of his mother from 1871 (called Arrangement in Grey and Black No. 1) that reveals precisely why Millais was so talented a portraitist; Isabella Heugh is not only full of character, it is dynamic and involving in terms of its potent colour scheme and diagonal composition in a way that makes Whistler's famous image seem flat and denuded.-- Adam Roberts
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