The language of the landscape: landscape in the work of John Everett Millais and its influence on later Pre-Raphaelite artists and Victorian social realism

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dc.contributorJones, Tanja
dc.contributorMcPherson, Heather
dc.contributor.advisorCurzon, Lucy D.
dc.contributor.authorNichols, Frances Drennen
dc.contributor.otherUniversity of Alabama Tuscaloosa
dc.date.accessioned2017-03-01T16:47:27Z
dc.date.available2017-03-01T16:47:27Z
dc.date.issued2013
dc.descriptionElectronic Thesis or Dissertationen_US
dc.description.abstractThe British artist, John Everett Millais, is most often celebrated for his role in founding the Pre-Raphaelite Brotherhood in 1848, and similarly for his works from this time. Millais also sustained a successful artistic career outside of the Pre-Raphaelite realm. It has been the tendency of recent art historians, however, to strictly divide Millais's career between his Pre-Raphaelite paintings and those that came after. In this division it becomes implicit that Millais's paintings from the Pre-Raphaelite period are innovative and even avant-garde. Meanwhile, Millais's paintings after his career with the Pre-Raphaelite Brotherhood are often considered lackluster and traditional to a flaw. This myth regarding the later phase of Millais's career negates his status as an avant-garde artist and does not acknowledge the substantial influence he had on subsequent Victorian artists. This thesis works, through a reconsideration of Millais's paintings both from his Pre-Raphaelite Brotherhood period and the years after, to dispel that myth. In specifically examining Millais's unique manner of employing landscape in his earlier and later paintings, I have proven that Millais exhibited Pre-Raphaelite tendencies, many of which were avant-garde, throughout his entire oeuvre. In further highlighting Millais's unique use of landscape and his position as an avant-garde artist, his direct influence on later Victorian artists is provided as well. In result, Millais is portrayed as a significant Victorian artist who not only made advancements in his use of landscape during his Pre-Raphaelite years, but also continued to do so in his later career. Thus, this thesis proves that Millais ultimately succeeded in contributing to the complex, ever-evolving vision of nineteenth-century British landscape.en_US
dc.format.extent88 p.
dc.format.mediumelectronic
dc.format.mimetypeapplication/pdf
dc.identifier.otheru0015_0000001_0001241
dc.identifier.otherNichols_alatus_0004M_11405
dc.identifier.urihttps://ir.ua.edu/handle/123456789/1712
dc.languageEnglish
dc.language.isoen_US
dc.publisherUniversity of Alabama Libraries
dc.relation.hasversionborn digital
dc.relation.ispartofThe University of Alabama Electronic Theses and Dissertations
dc.relation.ispartofThe University of Alabama Libraries Digital Collections
dc.rightsAll rights reserved by the author unless otherwise indicated.en_US
dc.subjectArt history
dc.titleThe language of the landscape: landscape in the work of John Everett Millais and its influence on later Pre-Raphaelite artists and Victorian social realismen_US
dc.typethesis
dc.typetext
etdms.degree.departmentUniversity of Alabama. Department of Art
etdms.degree.disciplineArt History
etdms.degree.grantorThe University of Alabama
etdms.degree.levelmaster's
etdms.degree.nameM.A.
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