Ophelia 1851-52: Canvas Replica Painting: Small
By artist John Everett Millais (1829-1896), in the Tate Gallery, London
Ophelia, a character from Shakespeare's play Hamlet, has fallen into a river while gathering flowers and sings as she floats to her untimely death. With delicate brushwork and dramatic flair, Millais painted for up to 11 hours a day, six days a week to capture each detail including the symbolic Victorian language of flowers so popular during its time. The authentic stretched canvas replica painting captures the original work's texture, depth of color, and even its subtle brushstrokes, which are applied by hand exclusively for Design Toscano. The imported, delicately carved hardwood frame boasts a delicate leaf motif with fine feathered detailing finished in antique gold tones.
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Small: 16.5"Wx12.5"H framed (9"Wx5"H image size, 4"W frame)
Medium: 28.5"Wx19"H framed (21"Wx11.5"H image size, 4"W frame)
Large: 40.5"Wx26"H framed (33"Wx18.5"H image size, 4"W frame)
Grande: 48.5"Wx30.5"H framed (41"Wx23"H image size, 4"W frame)
   Sir John Everett Millais (1829-1896)

Sir John Everett Millais was an English painter born in Southampton and educated in art at the Royal Academy of Arts in London. When he was 17 years old, Millais exhibited a painting at the Academy and it was then considered to be the best history painting shown that year.

In 1848 Millais and two other English painters formed a brotherhood of artists known as the Pre-Raphaelites, artists whose manner recalls the early Flemish and Italian masters. All Millais paintings from the Pre-Raphaelite era were painted with great attention to detail and often depicted the beauty and complexity of nature. In paintings such as Ophelia, Millais painted a dense and elaborate natural scene, an approach now called a pictorial eco-system.

Millais moved on to create many portraits of British personalities, famous in his time. Millais paintings prove that he was a careful artist who paid strict attention to detail, unusual composition and clarity of style. In his later work, Millais is criticized for succumbing to the Victorian taste for sentiment and anecdotal art.

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