My Initial Comments

There are a number of reasons I am including this piece from The Art Journal of 1885. Firstly, as a confirmed Yorkshireman, it shows that then, like now, all worthwhile artistic activity does not have to be in London. Secondly to increase the information on VAB regarding a great nineteenth century English artist, and thirdly as a tribute to the initiative of the city fathers of Manchester at the time.

In 1885 an exhibition was held in Manchester featuring the work of the following artists . Amongst those painters exhibiting were Alma-Tadema, Faed, Hook, Horsley, Leighton, Henry Moore, Riviere, and Sant. This exhibition allowed the people of the North West to see the work of the leading artists of the day. On the part of the artists themselves their decision to exhibit was not entirely altruistic, as the successful industrialists of the area were the amongst the wealthiest and most acquisitive art patrons of the time. The following year, at the Grosvenor Gallery, there was a major retrospective exhibition of the work of Millais. It would seem that Manchester got there first, albeit on a smaller scale.

Part of The Article

The exhibition committee have this year taken a new departure, by adding as a special feature of the year’s display a collection of nearly thirty examples of the art of Sir John E Millais, RA, which, with the exception of his powers as a landscape painter, adequately indicate the comprehensive genius of our artist baronet, and show how interesting and attractive the yet more complete exhibition Millais’ work announced for exhibition at the Grosvenor next winter may be expected to be. The period of the PRB is brought vividly to mind by a finely executed pen and ink drawing of the “Spoilation of Queen Matilda’s Tomb at Caen,” which is not more remarkable for its stiffness and angularity and the archaic aspect of its composition, than for the masterly handling and keen insight of character which it reveals. The early paintings shown-not to speak of the book illustrations-are the well-known and exquisite “Lorenzo and Isabella,” which is now one of the treasures of the Corporation of Liverpool; “Autumn Leaves, “ with its richness of colour and glory of sunset sky; and “Escape of a Heretic,” a picture of dramatic action and vivid expression. Mr E M Holloway has contributed to the collection the fine companion pictures of the “Princess Elizabeth in Prison,” at St James’s, and the “Princes in the Tower,” both too well-known to require criticism; and Mr Wertheimer has sent a beautiful series of pictures of child-life, including the “Mistletoe Gatherer,” the “Message from the Sea,” “Cinderella” and “Cherry Ripe.” Of the same class are “Caller Herrin” from Mr Walter Dunlop’s collection, and “Dropped from the Nest,” a charming work contributed by Mr Quilter. In portraiture the massive and thoughtful head of Lord Salisbury, the refined, reflective, and serious expression of Mr Gladstone, and the dogmatic self-assertiveness of Mr Bright are amongst the best proofs of the painter’s mastery of his craft; and his power of expressing the piquancy and charm of the feminine face and form is shown in the portraits of Mrs Perugini and Mrs Jopling. The idea of adding this interesting feature to the exhibition of the year was suggested by the  expectation that it would have contained a portrait of the Princess of Wales, which Sir John E Millais has received a commission to paint for the Corporation of Manchester. Owing to the illness of the painter in the spring that work has not yet been completed, but it is still hoped for before the exhibition is closed at the end of the year. 

Some of The Pictures  

Lorenzo & Isabella
Completed by the artist in 1849, his first great picture. Now in the Walker Gallery in Liverpool.

Autumn Leaves
Completed in 1856, a truly great picture, with three young girls gathering leaves. It has, as no lesser man the Ruskin said the most wonderful twilight sky, a combination of the obscurity of a twilight sky, and its glow. In Manchester City Art Gallery. 

The Princes In The Tower
Completed in 1878, this dramatic historical picture is one of the best examples of the artist’s later manner. Royal Holloway & Bedford New College. 

Caller Herrin
Completed in 1881, showing a pretty young fisher girl having a short rest on the way home with the catch of Herring, yet again another prime example of Millais’s later painterly style. When ill-informed people repeat the nonsense that the later work was inferior, one only needs to think of this painting to be sure that their opinions are indeed nonsense. Private Collection.

The Portraits.

Lord Salisbury
The third Marquess of Salisbury (1830-1903). Leading Conservative politician of the day. He was a considerable intellectual, a notably aggressive individual, and a pugnacious speaker, being described by Disraeli  (his own leader!) as “a great master of gibes and flouts and jeers.” Salisbury was three times Prime Minister, usually acting as his own Foreign Secretary, his international policies being described as “Firm but conciliatory.” 

Gladstone.
William Ewart Gladstone (1809-1898). Gladstone was born in Liverpool, and was statesman, orator, and author. He was possible the greatest politician of the day, and was for many years leader of the Liberals. Gladstone held virtually every leading office of state, including Chancellor of the Exchequer, and Prime Minister, He was a great opponent of repressive regimes, worked hard to improve the conditions of the poor, and was an enlightened leader. He favoured independence for Ireland, but was unable to carry his part with him. Ultimately universally known as “The Grand Old Man,” he resigned as Prime Minister for the last time in 1894, at the age of eighty four. 

John Bright.
John Bright (1811-1889). The son of a Quaker cotton spinner in Rochdale, and a leading nineteenth century Member of Parliament. One of the most eloquent political orators of his time. He strongly opposed the Crimean War, and supported the North  in the American Civil War. He supported the Reform Act of 1867, but opposed Gladstone’s Irish Home Rule policy. 

Louise Jopling
Louise Jopling (1843-1933) was a leading woman artist of her day. Her second husband was Joseph Middleton Jopling, a friend of Millais, who painted a wonderful portrait of his attractive sitter. I would very much like to see a revival of interest in her work. Now in the National Portrait Gallery.

Kate Perugini
Kate Preugini (1839-1929) was the younger daughter of Charles Dickens. She was the model for the young woman in Millais’s  “Black Brunswicker” of 1860. She married the painter Charles Allston Collins, and after his early death Charles Perugini, a talented and much underrated painter. Millais painted a rather unconventional and original portrait of Kate as a wedding present for the newly married couple. She was herself a painter, mainly of rather charming portraits of young children. She was also a talented writer, and worked for a considerable time on a biography of her father following his death. Ultimately she decided to abandon this project, and that she did so is a great loss to English literary history.

PHR 12 November 2004.

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