Mariana (Millais)

Painting by John Everett Millais

Mariana

Artist| John Everett Millais
Year| 1851
Medium| Oil on panel (mahogany)
Dimensions| 59.7 cm × 49.5 cm (23.5 in × 19.5 in)
Location| Tate Britain, London

Mariana is an 1851 oil-on-panel painting by John Everett Millais. The image depicts the solitary Mariana from William Shakespeare's Measure for Measure, as retold in Tennyson's 1830 poem "Mariana". The painting is regarded as an example of Millais's "precision, attention to detail, and stellar ability as a colorist".[1] It has been held by Tate Britain since 1999.

## Background

[edit]

In Shakespeare's Measure for Measure, written between 1601 and 1606, Mariana is about to be married but is rejected by her fiancé Angelo when her dowry is lost in the shipwreck that also killed her brother. She retreats to a solitary existence in a moated house. Five years later, Angelo is tricked into consummating their betrothal. Tennyson retold the tale in his 1830 poem "Mariana", and returned to it in his 1832 poem "Mariana in the South".

Millais was a founding member of the Pre-Raphaelite Brotherhood, a group of English artists who came together in 1848 with the goal of renewing British painting. They found in the art of the early Italian Renaissance—before Raphael—a sincerity of purpose and clarity of form that they sought to emulate.[2] The Pre-Raphaelites frequently used allegorical images to create a narrative to teach a moral virtue or virtues and sometimes used contemporary literature as inspiration for their paintings, which often include numerous details that allow the viewer to "read" the painting.

Millais used Tennyson's poetry to create a narrative for his painting of Mariana, and he wanted to allow the viewer familiar with Tennyson's poetry to read the entire poem through the painting. It was first exhibited at the Royal Academy in 1851 – the year after Tennyson was appointed as Poet Laureate – with a display caption that contained lines 9 to 12 from Tennyson's poem "Mariana" (1830):

She only said, 'My life is dreary,
He cometh not,' she said;
She said, 'I am aweary, aweary,'
I would that I were dead!'

Millais's painting may have been painted as a companion piece to William Holman Hunt's 1850 painting Claudio and Isabella, which also depicts a scene from Measure for Measure.[3]

William Holman Hunt, Claudio and Isabella (1850), Tate Britain

The composition and details of the painting were influenced by Van Eyck's 1434 painting The Arnolfini Marriage.

## Description

[edit]

The painting depicts a woman in a long blue dress, standing up from the embroidery laid out before her to stretch her back. Her upholstered stool and the table are set before a Gothic window with stained glass, through which can be seen a garden with leaves that are turning from green to autumnal brown. Some leaves have fallen on the embroidery and more onto the bare wooden floorboards beside a small mouse. In the background, a small triptych, a silver casket, and candles are set out as a devotional altar on a piece of furniture covered with white cloth beside the curtain of a bed.

The work is painted on a mahogany panel, primed with a white ground, and measures 49.5 cm × 59.7 cm (19.5 in × 23.5 in). It may have been painted wet-on-wet on a second ground, with graphite underdrawing. The paint is thinly applied in some areas to enhance the reflective effect of the white ground, but thickly applied in others. The woman's blue dress is painted with two blue pigments, Prussian blue and ultramarine.

The painting is packed with details that help the viewer to read the narrative of the work from Tennyson's poetry. The autumn leaves indicate a story about waiting and the passage of time. The woman's arched back makes it seem like she has been sitting too long and she must stand up to stretch before she sits back at her work, but her posture also emphasises her bust and hips. The roll of completed embroidery on the table gives the viewer a clue as to how long Mariana has been working on it.

The altar in the background may be a reference to Mariana's fervent prayers to the Virgin Mary in "Mariana in the South". The stained glass in the window shows an Annunciation scene, with the Angel Gabriel and the Virgin Mary, based on a window at the east end of the chapel of Merton College, Oxford, and also an invented coat of arms with a snowdrop and the Latin motto "In coelo quies" ("In Heaven there is rest"), possibly a reference to the feast of St Agnes' Eve and John Keats's poem The Eve of St Agnes.

Many of the details in the painting relate directly to Tennyson's poetry. For example, the little mouse in the bottom right corner is a detail directly from the poem: "the mouse behind the mouldering wainscots shriek'd or from the crevice peer'd about". An anecdote reports that the mouse was drawn from life – or rather death, as it was killed by Millais after it scurried across the floor and hid behind some furniture so he could immortalise it.

Together, Millais's painting and Tennyson's poem create an intriguing storyline for the reader to follow.[4] However, Millais's painting departs from Tennyson's narrative in some respects. The Mariana depicted by Millais is placed in a scene filled with vibrant colours; she is not the forlorn woman described by Tennyson, unwilling to live an independent life, confined to a dilapidated retreat, with a "mouldering wainscots".

In turn, Millais's painting inspired Elizabeth Gaskell's 1853 novel, Ruth. Tennyson's Mariana and Gaskell's main character Ruth are both sensitive to the sounds around them and constantly look out of their windows in an image that represents their imprisonment within their homes. The image of Mariana used by Tennyson and the later works is equally of a weary woman.

## Reception

[edit]

The painting was first exhibited in 1851, the year after Millais's painting Christ In The House Of His Parents had been heavily criticised by art critics and the public.

In 1851, Ruskin wrote in defence of the PRB that it "lays in our England the foundations of a school of art nobler than the world has seen for 300 years". He wrote on 9 May that " there is not a single study of drapery in the whole Academy, be it in large works or small, which for perfect truth, power, and finish, could be compared for an instant with … with the white draperies on the table in Mr. Millais' "Mariana" … And further: that as studies both of drapery and of every minor detail, there has been nothing in art so earnest or so complete as these pictures since the days of Albert Durer."[5]

The painting was accepted in lieu of £4.2m of inheritance tax payable on the estate of Roger Makins, 1st Baron Sherfield, who died in 1996. It was allocated to the Tate Gallery in 1999, when it was described as "arguably the greatest Pre-Raphaelite painting"[6]

The Makin Collection of Victorian paintings and drawings, which includes works by artists such as Millais, Holman Hunt, Rossetti, and Burne-Jones, was inherited by his son Christopher Makins and transferred to his residence in Washington, DC. The collection was begun by Henry Francis Makins (1841–1914), a friend of Millais, and enlarged by Roger, his grandson.

The Victoria & Albert Museum holds an 1850 study in pen and ink on paper.

## See also

[edit]

* List of paintings by John Everett Millais

## Notes

[edit]

1. ^ King, Sally. ""Aweary" and Waiting: John Everett Millais's Mariana". English 156 / History of Art 152, Brown University, 2007. Retrieved 21 October 2007.
2. ^ Treuherz, J. (2003). Pre-Raphaelitism. Grove Art Online.
3. ^ Fowle, Frances (December 2000). "Sir John Everett Millais, Bt Mariana 1851". The Tate. Retrieved 22 January 2013.
4. ^ Tennyson, Alfred (1965). Poems and Plays. London: Oxford University Press.
5. ^ Exhibition of the Royal Academy", The Times, 3 May 1851, p. 8, Rossetti Archive
6. ^ Lloyd-Webber outraged at pre-Raphaelite collection's export", The Art Newspaper, Martin Bailey, 1 September 1998

## References

[edit]

External videos

Millais's Mariana, Smarthistory[1]

* Mariana 1851. Tate Gallery.
* Millais: An Exhibition Organized by the Walker Art Gallery Liverpool and the Royal Academy of Arts London, January–April 1967. London: William Clowes and Sons, 1967.

* Mariana, John Everett Millais (1829–1896), Tate Britain, ArtUK
* Mariana in the Moated Grange, Victoria & Albert Museum
* Mariana, John Everett Millais, 1851, Google Arts & Culture
* Mariana, Sir John Everett Millais, Bt (1829-1896), 1850-51, The Victorian Web
* Sir John Everett Millais, Mariana, Dr. Rebecca Jeffrey Easby, Smarthistory, 9 August 2015
* Mariana by John Everett Millais, 1851, British Library
* "Millais for Tate: Nation given masterpieces in lieu of tax, The Guardian, 28 August 1999
* The Cambridge Companion to Victorian Culture, Cambridge University Press, 2010, ISBN 0521886996, p.203-205
* Medievalism: The Middle Ages in Modern England, Michael Alexander, Yale University Press, 2007, ISBN 0300110618, p.160-161
* Millais's "Mariana": Literary Painting, the Pre-Raphaelite Gothic, and the Iconology of the Marian Artist, The Victorian Web

* v
* t
* e

John Everett Millais

List of paintings

Paintings|

* Pizarro Seizing the Inca of Peru (1846)
* Isabella (1848–1849)
* Christ in the House of His Parents (1849–1850)
* Ferdinand Lured by Ariel (1850)
* Mariana (1851)
* The Return of the Dove to the Ark (1851)
* A Huguenot, on St. Bartholomew's Day (1852)
* Ophelia (1851–1852)
* The Order of Release, 1746 (1852–1853)
* The Proscribed Royalist, 1651 (1852–1853)
* John Ruskin (1853–1854)
* The Rescue (1855)
* Autumn Leaves (1856)
* The Blind Girl (1856)
* Peace Concluded (1856)
* A Dream of the Past: Sir Isumbras at the Ford (1857)
* The Vale of Rest (1858–1859)
* The Black Brunswicker (1860)
* Esther (1865)
* Vanessa (1868)
* The Boyhood of Raleigh (1870)
* Chill October (1870)
* Victory O Lord! (1871)
* The North-West Passage (1874)
* Thomas Carlyle (1877)
* Portrait of Benjamin Disraeli (1881)
* The Ruling Passion (1885)
* Bubbles (1886)

Related|

* Effie Gray (wife)
* John Guille Millais (son)
* Pre-Raphaelite Brotherhood
* Portrait of John Everett Millais (1852)
* The Love School (1975 miniseries)
* The Countess (1999 play)
* Desperate Romantics (2009 miniseries)
* Effie Gray (2014 film)

* v
* t
* e

Pre-Raphaelite Brotherhood (paintings)

* William Holman Hunt
* John Everett Millais
* Dante Gabriel Rossetti
* James Collinson
* William Michael Rossetti
* Frederic George Stephens
* Thomas Woolner

Associated
artists and
figures

* Lawrence Alma-Tadema
* George Price Boyce
* John Brett
* Ford Madox Brown
* Lucy Madox Brown
* Richard Burchett
* Edward Burne-Jones
* Georgiana Burne-Jones
* James Campbell
* John Collier
* Charles Allston Collins
* Frank Cadogan Cowper
* Evelyn De Morgan
* Walter Deverell
* Henry Treffry Dunn
* William Dyce
* Henry Holiday
* Arthur Hughes
* Edward Robert Hughes
* Frederic Leighton
* Robert Braithwaite Martineau
* Louisa Beresford, Marchioness of Waterford
* William Morris
* Alexander Munro
* Joseph Noel Paton
* Valentine Cameron Prinsep
* Christina Rossetti
* John Ruskin
* Emma Sandys
* Frederick Sandys
* Thomas Seddon
* Elizabeth Siddal
* James Smetham
* Rebecca Solomon
* Simeon Solomon
* John Roddam Spencer Stanhope
* Marie Spartali Stillman
* John Melhuish Strudwick
* Algernon Charles Swinburne
* Henry Wallis
* John William Waterhouse
* William James Webbe
* William Lindsay Windus

Some
well-known
works
(period and
post-period)

* Ophelia
* Christ in the House of His Parents
* A Converted British Family Sheltering a Christian Missionary from the Persecution of the Druids
* Ecce Ancilla Domini
* Mariana
* The Light of the World
* Our English Coasts ('Strayed Sheep')
* The Scapegoat
* Paolo and Francesca da Rimini
* The Last of England
* Work
* The Awakening Conscience
* The Hireling Shepherd
* April Love
* Found
* Autumn Leaves
* Bocca Baciata
* Oxford Union murals
* Lady Lilith
* Roman Widow
* Mary Magdalene
* The Finding of the Saviour in the Temple
* Morgan le Fay
* Beata Beatrix
* The Shadow of Death
* Proserpine
* A Vision of Fiammetta
* Pygmalion and the Image series
* The Beloved
* Cymon and Iphigenia
* King Cophetua and the Beggar Maid
* The Day Dream
* The Golden Stairs
* Dante and Beatrice
* Love's Messenger
* The Magic Circle
* The Legend of Briar Rose
* The Lady of Shalott (Waterhouse)
* The Roses of Heliogabalus
* Lilith
* Eos
* Flaming June
* Hope
* Hylas and the Nymphs
* Lady Godiva
* The Love Potion
* The Lady of Shalott (Hunt)
* I Am Half-Sick of Shadows, Said the Lady of Shalott

Models|

* Elizabeth Siddal
* Fanny Cornforth
* Effie Gray
* Sophie Gray
* Annie Miller
* Jane Morris
* Marie Spartali Stillman
* Alexa Wilding
* Maria Zambaco
* Dorothy Dene
* Fanny Eaton
* Ruth Herbert

Related|

* The Germ
* Hogarth Club
* Morris & Co.
* Rossetti and His Circle (1922 book)
* Dante's Inferno (1967 film)
* The Love School (1975 series)
* Desperate Romantics (2009 series)
* Effie Gray (2014 film)

* Category

* v
* t
* e

William Shakespeare's Measure for Measure

Characters|

* Angelo

Sources|

* Hecatommithi by Cinthio
* Promos and Cassandra by George Whetstone

Theatrical adaptations|

* The Law Against Lovers (1662)
* Das Liebesverbot (1834)
* Round Heads and Pointed Heads (1936)
* Desperate Measures (2004)

Film adaptations|

* Measure for Measure (1943)
* Measure for Measure (1979; TV)
* Measure for Measure (2020)

Related|

* Thomas Middleton
* Mariana (Tennyson)
* Mariana in the South (Tennyson)
* Bletting
* Bed trick
* Shakespearean problem play
* Mariana (Millais)

1. ^ "Millais's Mariana". Smarthistory at Khan Academy. Retrieved 22 January 2013.

*[v]: View this template
*[t]: Discuss this template
*[e]: Edit this template