Ophelia by John Everett Millais (London, UK — 1852)
Ophelia by John Everett Millais (London, UK — 1852) — an illustrated arts story, set in United Kingdom. 10 illustrated pages, free to read on Wonder Arts.
Page 1
John Everett Millais stands before his completed masterpiece, 'Ophelia,' in his London studio, 1852. The painting, measuring 76.2 cm 111.8 cm (30 in 44 in), now resides in the Tate Britain. Its creation was marked by controversy: Elizabeth Siddal, the model, caught a severe cold lying in a filled bathtub for hours to achieve the realistic floating effect. This commitment to Realism nearly cost her life.
"Millais sighs, stepping back. 'Finally finished, after all these months. I hope they see the truth in it—the beauty in what the poet wrote and nature displays.' He whispers, 'Poor Lizzie, though... such dedication to art'."
Art Fact: Ophelia, John Everett Millais, 1852. Oil on canvas. Tate Britain, London.
Page 2
Millais, along with Dante Gabriel Rossetti and William Holman Hunt, gathers at Rossetti's studio, a hub of artistic innovation. They debate the principles of their newly formed Pre-Raphaelite Brotherhood. Their quest for truth and fidelity to nature would define their artistic approach, including the pursuit of minute detail in painting.
"Rossetti gestures emphatically. 'We must reject the artificiality of the Royal Academy! We must return to the sincerity of early Italian art, before Raphael corrupted it all with his mannerism!' Millais nods, 'Yes, we must paint what we truly see, with unwavering honesty. 'Paint as if we were early Italian painters!' Hunt exclaimed."
Art Fact: The Pre-Raphaelite Brotherhood sought to reform art by rejecting what they considered the mechanistic approach adopted by Mannerist artists who succeeded Raphael and Michelangelo.
Page 3
Millais searches for the ideal location to paint the background of 'Ophelia.' He settles on a stretch of the Hogsmill River near Ewell in Surrey, England. He spends countless hours meticulously rendering the foliage, rocks, and water with painstaking accuracy, battling swarms of insects and unpredictable weather.
"Millais squints, sketching rapidly. 'The detail here... exquisite! But these flies are driving me mad!' He wipes his brow. 'Still, this fidelity to nature is paramount. Remember what Leonardo da Vinci said, 'Painting embraces all the ten functions of the eye; that is to say: darkness, light, body and colour, shape and location, distance and nearness, motion and rest.'"
Art Fact: Millais spent up to 11 hours a day for five months completing the landscape for 'Ophelia' before even beginning to paint the figure.
Page 4
Elizabeth Siddal poses for Millais as Ophelia. To achieve the desired effect, she lies in a bathtub filled with water, despite the cold temperatures. Millais places oil lamps beneath the tub to keep the water warm, but they eventually fail, and Lizzie endures hours of freezing discomfort.
"Lizzie shivers, her teeth chattering. 'John, are you certain this is necessary? I cannot feel my toes anymore!' Millais frowned. 'Almost done, Lizzie, almost! The composition will be sublime, I promise. The suffering will be worth it for the creation of beauty.'"
Art Fact: Elizabeth Siddal's dedication to realism led to a severe cold and potentially contributed to her later health problems.
Page 5
Millais meticulously paints each flower in 'Ophelia,' imbuing them with symbolic meanings drawn from Shakespeare and the language of flowers. The poppies represent death, the pansies unrequited love, and the violets faithfulness. This adds layers of depth and meaning to the painting.
"Millais carefully touches his brush. 'Each flower tells a part of the story... a subtle whisper to those who know how to listen. Shakespeare wove such layers into his works, so shall I. Ophelia's story is marked with death, and unrequited love as the flowers paint the scene and story."
Art Fact: The flowers in 'Ophelia' are not merely decorative; each carries a specific symbolic meaning that reinforces the painting's themes.
Page 6
When 'Ophelia' is exhibited at the Royal Academy, it receives mixed reviews. Some critics praise Millais's technical skill and fidelity to nature, while others find the Pre-Raphaelite style too unconventional and the subject matter morbid. Charles Dickens particularly hated the painting, especially how the model looked, describing her as looking like a 'dairy maid'.
"A critic scoffs, pointing at the canvas. 'Such excessive detail! It lacks the grandeur of true art. The Brotherhood cares not for what is considered true art, as said by Oscar Wilde, 'I am always late on principle, my principle being that punctuality is the thief of time.' another nods in agreement with him. "
Art Fact: 'Ophelia' initially divided critics, highlighting the Pre-Raphaelites' challenge to established artistic conventions.
Page 7
Despite the criticism, Millais stands by his artistic vision. He believes in the importance of portraying truth and beauty, even if it means challenging traditional standards. The Pre-Raphaelite Brotherhood continues to champion their ideals.
"Millais responds calmly to a critic. 'We do not seek to shock, but to portray the world as we see it, with honesty and precision. Our beauty comes from reality. If others see it not, then it is their minds that are clouded, not my canvas.'"
Art Fact: Millais and the Pre-Raphaelites persisted despite early criticism, driven by their commitment to their artistic principles.
Page 8
Art critics began to analyze the symbolism behind the Pre-Raphaelite work and how Millais used this to convey the tale of Ophelia's death and emotional state. They describe the lilies and the willows surrounding her.
"Art critic looks closely at the canvas. 'The lily represent her purity and her fate. The willows for her forsaken love. It is truly a remarkable expression of grief and heartbreak. The level of detail is what makes it amazing.'"
Art Fact: Millais successfully conveyed Ophelia's tragic story through both his vivid realism and the complex symbolism embedded within the flowers and landscape.
Page 9
Over time, 'Ophelia' gains recognition as a masterpiece of the Pre-Raphaelite movement. Its haunting beauty and intricate detail captivate audiences. Its depiction of feminine sorrow resonates across generations.
"A young woman studying the painting. 'She looks so serene, yet so tragic. It's breathtaking. Millais captured something universal about loss and beauty.'"
Art Fact: Ophelia stands as a testament to Millais's artistic skill, demonstrating his lasting influence and artistic success.
Page 10
'Ophelia' continues to inspire artists, writers, and dreamers. Her image, suspended between life and death, embodies the enduring power of art to capture the human condition. Millais's vision lives on, reminding us of the fragile beauty of life and the inevitability of sorrow. His work survives forever because, as Vincent van Gogh said, 'I dream my painting, and then I paint my dream.'
"A gallery curator whispers, watching the crowds admire Ophelia. 'She remains suspended between worlds, an eternal echo of beauty and sorrow... a masterpiece that will never fade.'"
Art Fact: Millais's vision lives on, reminding us of the fragile beauty of life and the inevitability of sorrow.
About this story
- Location: United Kingdom
- Audience: general readers
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