John Everett Millais

John Everett Millais was one of the most technically gifted painters in history. As a founding member of the Pre-Raphaelite Brotherhood, his goal was to depict life and nature as authentically as possible. This pursuit led to wonderfully detailed works such as Ophelia, which I had the pleasure of seeing in-person at the Tate in London!

Controversial Beginnings

From a young age, Millais was recognized as a prodigy. Unlike most parents of the time, his family noticed his artistic talent early and encouraged him to pursue drawing and painting over other academic studies. At just eleven years old, he became the youngest ever student admitted to the Royal Academy School. His mother was relentless in advocating for his acceptance and believed in his success long before others did. Millais often credited her as the driving force behind his artistic achievements.

Millais spent six years at the Royal Academy in London mastering his craft. In 1850, just a few years after completing his studies, he unveiled one of his most controversial works, a painting that provoked outrage, even from Charles Dickens himself.

His piece ‘Christ in the House of His Parents’ was exhibited at the Royal Academy’s Summer Exhibition. The painting depicted Jesus in Joseph’s carpentry workshop with striking naturalism and hyper-realistic detail. This was unprecedented. At the time, biblical figures were traditionally portrayed as idealized, flawless beings, not as ordinary people with visible imperfections. The work scandalized critics and audiences alike. Queen Victoria even requested the painting be removed from the exhibition and brought to her privately so she could judge it for herself.

Charles Dickens famously criticized the work, writing that it portrayed “a hideous, wry-necked, blubbering, red-haired boy in a nightgown, who appears to have received a poke while playing in an adjacent gutter, and to be holding it up for the contemplation of a kneeling woman, so horrible in her ugliness that… she would stand out from the rest of the company as a monster in the vilest cabaret in France or in the lowest gin-shop in England.”

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Despite such harsh criticism, the controversy only amplified Millais’ reputation. As the saying goes, all press is good press, as the scandal helped bring attention to both him and the Pre-Raphaelite movement, sparking lively debates about realism and modernity in art.

For artists today, Millais’ story is a powerful reminder of the importance of challenging conventions. Especially with the rise of AI-generated images and social media, it’s more crucial than ever to create works that express real individuality rather than simply follow trends.

Methods and Techniques

There is so much to learn from John Everett Millais’ methods, and his process remains deeply inspiring. The Pre-Raphaelites were known for their highly detailed paintings, vivid colors, and complex narrative compositions. Their focus was always on capturing nature in its truest form.

From Life

For Ophelia, Millais painted the background of dense foliage directly from life along the banks of the Hogsmill River. He worked 11 hours a day, six days a week, for five months meticulously capturing every leaf and flower. His color palette was drawn directly from what he observed, and the result still radiates with depth and vibrancy today.

The Pre-Raphaelites typically began with detailed studies from life, followed by rendered compositional drawings that mapped out lighting and structure for the final work. Below, you can see a study from a live model for Ophelia alongside the preparatory drawing that guided the painting.

Color and Light

One of the most fascinating aspects of the Pre-Raphaelite technique was their approach to color and luminosity. They often prepared their panels with a smooth layer of white gesso, sanding it down to remove texture. This provided a luminous ground for thin layers of paint and allowed them to render the tiniest details of nature.

Unlike Renaissance painters, who often began with a warm-toned ground, the Pre-Raphaelites applied pure, unmuted colors directly over white. The Raphaelites favored pure brilliant colors that were not affected by the colors below which allowed them to achieve glowing saturation and depth in their work. They built up light and dark glazes gradually, creating the illusion of depth and form unlike any others before their time.

For example, in Holman Hunt’s work below, you can see the vibrancy and clarity made possible through this method.

If you’re a traditional painter, I highly recommend experimenting with different grounds. Compare the luminosity of painting on a warm-toned ground versus pure white. Thin layers will allow light to reflect through, while thick paint may dull the effect.

Pre-Raphaelite Legacy

Even after his initial controversy, John Everett Millais went on to become one of the most successful and celebrated artists of his era. His dedication, work ethic, and unmatched ability to capture nature down to the smallest detail set him apart and inspired generations of artists who came after.

If you’re inspired by Millais, I also recommend exploring the works of his fellow Pre-Raphaelites such as Dante Gabriel Rossetti and William Holman Hunt. And finally, if you have the chance, I highly recommend visiting the Tate in London to view Millais' works in person!