New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1896-08-14

tracheOtomy for the relief OF cancer or the
throat. ard never fully rallied from its effects,
which Immediately caused his death.
Sir John Mlais will probably stand forever as
the great rccalcitrant OF English art the one con-
spicuoys example of reversed development wh>>
the rolcall of tho painters OF his country mas TO
show He executed complete riSht-abou-face
at n moment not less critical for English art IN
general than for himself For this reason alone the
story OF his would possess peculiar inter-
est-considcrirg the omincncc to which he rose
after his detection from the Pre- Raphaelite Broth
erhood-and indeed, It Is not unlikely that he VIII
never be more interesting TO the historian than as
n man who abandoned one solution OF his problem
for another. only to leave his posterity disap-
pointed.
Millais was born Mt Southampton the son of an
old family In the island of Jersey. In 1929. The time
would seem to have been unproptious 70 artistic
genius When Mais before his teens was en-
tered at Mr. Sass Academy. an institution which
survives in history important In IT'S DAY out
never OF great value. there was thick cloud or
mediocrity settled upon English art. Two years
later Mllais went TO the Royal Academy schools.
Things were not much better there. on the other
hand Il Is important 10 remember that he suffered
no disbursement at the beginning Of his career.
There is a legend 10 the effect that when the boy
and his mother came ZIP TO London and called upon
Sir Martin Shee, who was then president OF the
ROYAL Academy he advised that the aspiring stu
dent before him he brought up chimney sweep.
But he had not seen the drawings which had been
brought along for his inspection. When he saw
these he was Immediately convinced that Millais
was gifted he advised course of study. and
thenceforth the life of the young painter de-
veloped along lines we'll calculated 10 foster.
as well as was possible the time what
ever there was in him of artistic worth. He won
success early. In 1916. being only seventeen, he
had the delight of seeing his first picture hung on
the walls of the Academy, an historical! compost
ton entitled "Pzarro Selling the Inca of Peru"
and he began to he recognized even then as man
of whom much might be expected.
During his ,tudentship in fact. Millais had the
chance 10 make himself OF the first figures in
English art Painting in his country. as has been
said had reached a low ebb Lawrence had died in
1880. year after the birth of Miais and by the
time the latter had begun to feel his strength
the splendid wave OF the eighteenth century had
entirely spent Itself The English school was a
nondescript affair without even the pcturesqueness
OF a period Of transition 1t simply dull, fiat
and colorless At this stage Mais fell in with
Holman Hunt and Dante Gabriel Rossetti The
three thought they saw light in the primitives
of Italy and forthwith they proceeded to cultivate
n style OF minute realism comparable to that of the
Giottcschi They were fastidous in their choice Of
subjects too they became contemplative romantic;
Mlllas painted picture Of Ferdinand Lured by
Ariel I'm $50 and he followed 1t with a number Of
works among which Mariana in the Moated
Grange" and "Ophella." significant titles. were
conspicuous They helped to make the Pre-
Raphaelite brotherhood a school 10 be reck-
oned with. They brought Millais, also, 10
the parting of the ways. There would seem
to have been a strain OF French volatility In him.
He tired of his evange lie thought that II he left
the p r. BIS he would find a greater freedom of
style a greater independence. That. at any rate,
is what his warmest admirers say. and they have
this much 10 uphold their contention-that the
T. r. b. was undoubtedly drifting into hard lit
eraIncss Incompatible with true greatness In paint
Ing. But the truth IS that Mil.ais saw little chance
for either fame or fortune in the group with which
he had identified himself. and he reverted TO ways
that would be better understood of the picture
buying public. The surmise is not unjust Milais
had ability He was intimate terms with
who had ideas. poetry. enthusiasm. He shared in
the impetus which their idealistic aims were giving
English art in spite Of the morbidness also char
acteristc of their movement. He had more teohn-
cal power than any of them. and could have done
fine enduring work, putting the p. r. y. inspra-
tion which much more than mere way Of
drawing foliage or costume or architecture. into
better pictures than Rosseiti could have made. He
could have approved himself powerful leader.
perhaps the founder of great school He left
Rossetti. instead, to do the best that the latter
could in company with Hunt and few others.
They never carried the Pre- Raphaete idea TO
Overwhelmingly successful application They have
to-day be studied with careful reserva tons Mil
lais is easily appraised He took to painting pict
whose merit lay upon the surface. Just for
a handful OF silver he left us" So the =. r. BIS
might have sad so it actually was said here and
there and throughout his long career Mlllas only
confirmed the hypothesis.
He Is known to fame as the painter OF THE
Northwest Passage noble picture. but the no.
bility is that of a strong subject, not Of purely
artistic beauty Millas fell into a commonplace
int n
when he turned his back on Rossetti and the rest.
For while the old glamour chung TO him he
Rrunswcker." he could not break all ut once with
the vague, almost tender strain which he had adopt
ed at tne outset But break with IL he did. ana one
can readily sympathize with Mr.. Ruskin in his
chagrn: Il see with CONSERVATION that II was not
the Parnassian rock which MI Miiais was as
ccnding, but the Tarpeian. MHais might have re-
torod that the dangers OF the latter had no terrors
for him He knew that the gulf OF popularity has
OF roses He painted pictures that would increase
its LUXURY He painted Blowing Bubblcs.' There
nrnoEnt Of mournfnl retrospect viii show why Mil
lais Is sad theme for criticism quite 80 vel as me
juxtaposition Of, say "Ophelia, with the chrome
that IA soap manufacturer has made famous the
II the lapse into mcdiocrity which this comparl-
son makes manifest were 10 be considered only IN
It's material aspec thsn Mai3 WAS I o. sor con-
associates OF the i. X. IS. had a difhcult road TO
travel For him there were lew fayorS %lshrn he
In 1855 Mr. Gladstone's government made him
His election 10 the post winch DIT Ttdtitc
Leighton had - long adorned is - matter OF cur
rent history recent as 20 be familiar To every
one HIS was a good name for the office, and II Is
highly probable that had he lived he would have
shown himself substantially useful president.
II. had the character fer IT, on It's managerial side.
Long popularity had made him a shrewd man OF
the world He administered his own affairs well.
and he would have been wise In his adminisra-
lion of the Academy. In fact the personality OF
the man was so agreeable. there seemed TO be so
many reasons for admiring and respecting him,
that It may appear ungracious thing TO pursue
the line Of his artistic Development In n spirit OF
al
chance for = lesser must bear the brunt OF his
choice Mnais chose unwisely. That Is fairly GER
tain IN be admitted with more and more willingness
a. time goes on lie painted great number Of
pictures and portraits which have given pleasure
In n large public but IL was the less critical public
OF the time and those who cared for him most Will
look wlstfully back upon the productions OF his