Object of the Day, Museum Edition: The Black Brunswicker, 1860

The Black Brunswicker
Sir John Everett Millais, 1860
The Lady Lever Art Gallery
Liverpool

Sir John Everett Millais was known for his emotionally-charged, theatrical and highly detailed paintings. He preferred to paint scenes which featured figures which would tempt the viewer to touch them because of the highly tactile nature of their clothing and radiant skin. This painting is no exception.


In the composition, we see a young lady being embraced by a soldier in a historical scene. The soldier represents a member of the special troop of highly-trained German soldiers of 1809 known as The Black Brunswickers whose motto “Glory or Death” became widely known. The Black Brunswickers wore death’s heads on their helmets to reinforce their grisly anthem. This regiment suffered tragic losses at the 1815 Battle of Waterloo.

For his subjects, Millais used Charles Dickens’ daughter, Kate, as the model for the girl, and a private in the Life Guards as the model for the soldier. At no point were the two ever in the same room. Each posed with a mannequin for preliminary studies.

Notice the folds of the woman’s dress. They invite the viewer to reach out and touch it to see if it is, in fact, real. Millais has included a figure of a dog to reinforce the humanity of the scene and has placed a reproduction of an engraving of Napoleon Crossing the Alps by J.L. David as a reminder of Waterloo.

Painting of the Day: "The Ghost at the Wedding Ceremony," 1853

The Ghost at the Wedding Ceremony
John Everett Millais, 1853
The Victoria & Albert Museum

Okay, it’s getting to be Halloween. So, of course, we’ve got to take a look at some spooky objects. Hey, here’s one.

This drawing by Sir John Everett Millais dates to 1853. It’s a scene of nine standing figures, four female to the viewer's left and four male, with one partly cut off and another ghostly, to the right. In the center of the composition is a figure with a book who seems to be expressing concern for the forward-most woman. She appears to be recoiling from the leading man's advance. He holds, in his right hand, a ring.

Well, that’s all very curious. What could it mean? This is a depiction of the separation of lovers by death. It is inscribed with the phrase, “I won't, I don't.” Essentially, this is the representation of a bride spying the phantom of a deceased sweetheart. He clutches his broken heart as he looms behind her new bridegroom.

But, surely there’s more to it. Some believe that the drawing may, in fact, allude to the marriage of Effie Gray (who once owned the drawing) to John Ruskin in 1848. When the drawing was created, Effie and Millais were in love. Ah…so, has the artist depicted himself as the very-much alive broken-hearted suitor in a metaphorical scene of infidelity?

The figure on the right could be John Ruskin's father. The elder Ruskin was known as a dominating man who tried to control every aspect of his son's life. In fact, that seems to have been a family trait. The Ruskins were notably dysfunctional. Other historians contend that the ghost is actually a representation of Ruskin's grandfather, who committed suicide.

No matter what is depicted here, it is a remarkably powerful image. Surely, it was a difficult subject for Millais to draw—the marriage of his love to a man that he loathed. Perhaps that’s why the drawing is unfinished. It may have just been too painful for him to continue.

But, things looked up for Millais—briefly. Effie’s marriage to Ruskin was annulled in 1854—a year after the creation of this drawing--and she married Millais in 1855.

Object of the Day, Museum Edition: Princess Gouramma of Coorg, 1855

Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Princess Gouramma of Coorg
Marocheti, 1852-55
Marble painted with watercolor
The Royal Collection

In 1852, as a display of goodwill and affection for the empire in India, Queen Victoria welcomed the daughter of the deposed Rajah of Coorg. Coorg was considered the ‘Scotland of India,’ and Victoria wanted to ensure good relations there. Princess Gouramma was presented to the Queen and Prince Albert at Buckingham Palace on June 30, 1852 where she was promptly baptized with Victoria and Albert as her godparents. 

As one does.

Following that bit of fun, Victoria commissioned Carlo, Baron Marocheti, to create a marble bust of the girl as she looked when presented with her crucifix.  

Doesn't she look thrilled?  

To heighten the sense of realism, the Queen had the bust painted in watercolor over the marble. The painting was completed by W.H. Millais.

Here's the Princess looking equally as excited in a photo by Fenton.
Crown Copyright
The Royal Collection
Image via the Royal Collection Trust
Courtesy of Her Majesty Queen Elizabeth II

Painting of the Day: "The Ghost at the Wedding Ceremony," 1853

The Ghost at the Wedding Ceremony
John Everett Millais, 1853
The Victoria & Albert Museum

Okay, it’s getting to be Halloween. So, of course, we’ve got to take a look at some spooky objects. Hey, here’s one.

This drawing by Sir John Everett Millais dates to 1853. It’s a scene of nine standing figures, four female to the viewer's left and four male, with one partly cut off and another ghostly, to the right. In the center of the composition is a figure with a book who seems to be expressing concern for the forward-most woman. She appears to be recoiling from the leading man's advance. He holds, in his right hand, a ring.

Well, that’s all very curious. What could it mean? This is a depiction of the separation of lovers by death. It is inscribed with the phrase, “I won't, I don't.” Essentially, this is the representation of a bride spying the phantom of a deceased sweetheart. He clutches his broken heart as he looms behind her new bridegroom.

But, surely there’s more to it. Some believe that the drawing may, in fact, allude to the marriage of Effie Gray (who once owned the drawing) to John Ruskin in 1848. When the drawing was created, Effie and Millais were in love. Ah…so, has the artist depicted himself as the very-much alive broken-hearted suitor in a metaphorical scene of infidelity?

The figure on the right could be John Ruskin's father. The elder Ruskin was known as a dominating man who tried to control every aspect of his son's life. In fact, that seems to have been a family trait. The Ruskins were notably dysfunctional. Other historians contend that the ghost is actually a representation of Ruskin's grandfather, who committed suicide.

No matter what is depicted here, it is a remarkably powerful image. Surely, it was a difficult subject for Millais to draw—the marriage of his love to a man that he loathed. Perhaps that’s why the drawing is unfinished. It may have just been too painful for him to continue.

But, things looked up for Millais—briefly. Effie’s marriage to Ruskin was annulled in 1854—a year after the creation of this drawing--and she married Millais in 1855.

Object of the Day, Museum Edition: "The Ghost at the Wedding Ceremony," 1853

The Ghost at the Wedding Ceremony
John Everett Millais, 1853
The Victoria & Albert Museum

Okay, it’s getting to be Halloween. So, of course, we’ve got to take a look at some spooky objects. Hey, here’s one.

This drawing by Sir John Everett Millais dates to 1853. It’s a scene of nine standing figures, four female to the viewer's left and four male, with one partly cut off and another ghostly, to the right. In the center of the composition is a figure with a book who seems to be expressing concern for the forward-most woman. She appears to be recoiling from the leading man's advance. He holds, in his right hand, a ring.

Well, that’s all very curious. What could it mean? This is a depiction of the separation of lovers by death. It is inscribed with the phrase, “I won't, I don't.” Essentially, this is the representation of a bride spying the phantom of a deceased sweetheart. He clutches his broken heart as he looms behind her new bridegroom.

But, surely there’s more to it. Some believe that the drawing may, in fact, allude to the marriage of Effie Gray (who once owned the drawing) to John Ruskin in 1848. When the drawing was created, Effie and Millais were in love. Ah…so, has the artist depicted himself as the very-much alive broken-hearted suitor in a metaphorical scene of infidelity?

The figure on the right could be John Ruskin's father. The elder Ruskin was known as a dominating man who tried to control every aspect of his son's life. In fact, that seems to have been a family trait. The Ruskins were notably dysfunctional. Other historians contend that the ghost is actually a representation of Ruskin's grandfather, who committed suicide.

No matter what is depicted here, it is a remarkably powerful image. Surely, it was a difficult subject for Millais to draw—the marriage of his love to a man that he loathed. Perhaps that’s why the drawing is unfinished. It may have just been too painful for him to continue.

But, things looked up for Millais—briefly. Effie’s marriage to Ruskin was annulled in 1854—a year after the creation of this drawing--and she married Millais in 1855.

Painting of the Day: “The Nest” by Sir John Everett Millais, 1887

"The Nest"
Sir John Everett Millais
1887
The Lady Lever Art Gallery, Liverpool

Millais’ paintings were always considered to be tender and touching. Critics of his later works often complained that they were so sentimental as to overpower Millais’ immense talent and make them appear “cheap.” The critics may have thought them trite, but Millais’ works never failed to sell quite well and were eagerly snatched up by art collectors.


Lord Leverhulme, like many of his contemporaries, liked a good bit of sentimentality and bought this painting by Millais—The Nest—knowing that reproductions of it would sell a lot of his soap. And, they did. Of course, once the ads had run their course, he kept the painting and gave it to his wife. Today, it lives in the Lady Lever Art Gallery in Liverpool.

Gratuitous Bertie Dog Picture: Apple Bertie

“You just had to go and eat all the egg salad, didn’t you, Goldenrod?”

 

Image: Spring (Apple Blossoms), Sir John Everett Millais, 1859, The Lady Lever Gallery, Liverpool, England.