000			02035 a2200277 4500
001			1138258512
005			20250317100418.0
008			250312042017GB eng
020			_a9781138258518
037			_bTaylor & Francis _cGBP 52.99 _fBB
040			_a01
041			_aeng
072	7		_aAB _2thema
072	7		_aAGA _2thema
072	7		_a3MN _2bisac
072	7		_aAB _2bic
072	7		_aACV _2bic
072	7		_aART016000 _2bisac
072	7		_a759.2 _2bisac
100	1		_aPaul Barlow
245	1	0	_aTime Present and Time Past _bThe Art of John Everett Millais
250			_a1
260			_aOxford _bRoutledge _c20170306
300			_a240 p
520			_bJohn Everett Millais (1829-1896) is undoubtedly among the most important of Victorian artists. In his day, and our own, he remains also the most controversial. While, during his lifetime, controversy centred around his early Pre-Raphaelite paintings, in particular Christ in the house of his Parents (1850), during the twentieth century the most intense criticism has been directed towards Millais's later works, such as Bubbles (1886), which has been widely condemned as sentimental 'kitsch'. These later paintings have been held up as the epitome of the degradation of art, against which avant-garde and Modernist pioneers struggled. None of the existing literature on Millais addresses the fundamental problem that this double-identity reveals. While there is extensive material on the Pre-Raphaelite movement in general, Millais's own work after the 1850s is rarely discussed in detail, despite the fact that he lived and worked for another 30 years after his abandonment of the Pre-Raphaelite style. Time Present and Time Past: The Art of John Everett Millais presents the first comprehensive account of Millais's artistic career from beginning to end. The book considers the question of 'high' and 'low' cultural status in debates during Millais's own day, and in subsequent critical thinking, situating Millais's art as a whole within this cultural framework.
999			_c3165 _d3165