Is the Painting a Grave? John Everett Millais and the Queer Refusals of Victorian Art by Ariel Kline

“…This article attends to John Everett Millais’s ambivalent proximity to lesbian desire through an analysis of The Vale of Rest (1859) and other works. …”
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JOHN EVERETT MILLAIS AND THE “PRE-RAPHAELITE BROTHERHOOD”: THE FIRST AVANT-GARDE MOVEMENT IN ART by CIPRIAN IULIAN ȘOPTICĂ

“…: In order to show the way in which the first avant-garde trend was founded in art, my aim is to outline one of the greatest masterpieces that the Pre-Raphaelite movement provided the humanity culture with, particularly through its representative painter John Everett Millais (1829-1896). The famous and much-discussed painting by Millais, Christ in his parents' house(1850) is a unique biblical scene: The Holy Family in the carpentry workshop of Saint Joseph (Fig.1). …”
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Millais’ Metapicture: “The North-West Passage” as Distillate of Arctic Voyaging from the Anglosphere by Mark A. Cheetham

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Arts and Crafts Painting: The Political Agency of Things by Morna O'Neill

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Graphic Interlude by Winslow Homer, Ambrose Andrews, Briton Rivière, Sharon Lockhart, Anonymous, Marcus Gheeraerts I, Gawen Hamilton, Sir John Everett Millais, Thomas Rowlandson, Marion Post Wolcott, John Rogers, Mary Sargant Florence, Thomas Anshutz, Sir William Reynolds-Stephens, George Cruikshank

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“Her tears fell with the dews at even”: The Ekphrastic and Intertextual Dialogue between Victorian Poetry and Pre-Raphaelite Painting by Rejano Rocío Moyano

“…In doing so, both texts are later transferred into John Everett Millais’s painting. Millais’s intertextual dialogue with Tennyson’s poem and Shakespeare’s play involves a process of reverse ekphrasis. …”
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Tracing Ophelia from Millais to Contemporary Art: Literary, Pictorial and Digital Icons by Laurence Roussillon-Constanty

“…Since the 1980s, John Everett Millais’s emblematic oil painting, Ophelia (1851–1852) has been remarkably framed by feminist discourses on gender that convincingly demonstrated how the representation of female death could be linked to patriarchal tradition whose underlying discourse was to tame, control and ultimately objectify women. …”
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NECROPHELIA AND THE STRANGE CASE OF AFTERLIFE by Sosnowska Monika

“…It seems that Ophelia’s floating dead body is also at the core of postmodern thanatophiliac imagination, taking shape in the form of conventionalized representations, such as: video scenes available on YouTube, amateur photographs in bathtubs posted on photo sharing sites, reproductions and remakes of classical paintings (e.g. John Everett Millais), and contemporary art exhibitions in museums. …”
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Ofélia transfigurada: modos de discurso sobre arte em Paul Ricœur e Arthur C. Danto by Vinicius Oliveira Sanfelice

“…Propomos uma análise concreta para avaliar a possibilidade de integração: considerar a relação entre o quadro Ophelia de John Everett Millais e a assemblage Ofélia de Farnese de Andrade a partir do que as teorias de Danto e de Ricœur têm em comum: abordar a dimensão retórica da obra de arte.…”
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Courtship and spatiality in nineteenth-century English novels by Divya Athmanathan

“…My close study of Jane Austen’s Persuasion (1818), Elizabeth Gaskell’s North and South (1855) and Charles Dickens’s A Tale of Two Cities (1859) in the context of nineteenth-century discourses such as paintings and illustrations by artists such as John Everett Millais and Anthony Hopkins demonstrates the ways in which structures such as wine-shops, prisons, and factories manipulate the narratives of affective relations. …”
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The deeper reach of pen: portraiture and fiction in Wilkie Collins's Basil: A Story of Modern Life (1852) by Philipps, G

“…Chapter 2 considers the extent to which the text engages with specific aesthetic and cultural issues that were to the fore in the summer of 1851, in particular Pre-Raphaelitism and the Great Exhibition; that leads to a discussion in chapter 3 of the way in which Basil’s verbal portraits of certain characters imitate an aesthetic of naturalism in portraiture, intended to enable the viewer to effect a physiognomical reading of the character of the sitter, that was at the time being advocated both by Collins himself and by his friend Tom Taylor and put into practice, in different ways, by his close friends John Everett Millais and Edward Matthew Ward. But while Collins causes Basil to imitate that aesthetic of portraiture, he also undercuts the imitation by making Basil unable to understand the significance of what he sees and describes to the reader. …”

THE SCREEN EFFECT OF THE MAGIC MIRROR IN ALFRED LORD TENNYSON’S POEM “THE LADY OF SHALOTT” AND PRE-RAPHAELITE ILLUSTRATIONS / ЭКРАННОСТЬ МАГИЧЕСКОГО ЗЕРКАЛА В ПОЭМЕ А. ТЕННИСОНА... by NIKIFOROVA A.E. / НИКИФОРОВА А.Е.

“…The works by Dante Gabriel Rossetti, John Everett Millais and William Holman Hunt, which transmit the poem’s episodes and consider to different extents the image of a mirror similar to a screen are studied. …”
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