Order of Release. The Order of Release, 1746 is a painting by John Everett Millais exhibited in 1853.
It is notable for marking the beginnings of Millais's move away from the highly detailed Pre-Raphaelitism of his early years. Effie Gray, who later left her husband for the artist, modelled for the principal figure.
The painting depicts the wife of a rebel Scottish soldier, who has been imprisoned after the Jacobite rising of 1745, arriving with an order securing his release. She holds her child, showing the order to a guard, while her husband embraces her.
The Illustrated London News reviewed the painting as follows: It is time now that we speak of Millais-Millais the Pre-Raffaelite; the pretender Millais that was; the usurper Millais that is; the legitimate Millais that perhaps may be; and who has certainly a larger crowd of admirers in his little corner in the Middle Room than all the Academicians put together command; Truth to say, Mr. Millais, in this Order of Release, has achieved for himself an order of merit worth more than any academic honour, and has earned a fame which a whole corporate academy might be proud to portion amongst its constituent members. Whilst we admit-nay assert this-we would by no means wish to be understood as enrolling ourselves incontinently of this young artist's party; but simply as asserting that Pre-Raffaelitism is a great fact, and perhaps may lead to the re
It is notable for marking the beginnings of Millais's move away from the highly detailed Pre-Raphaelitism of his early years. Effie Gray, who later left her husband for the artist, modelled for the principal figure.
The painting depicts the wife of a rebel Scottish soldier, who has been imprisoned after the Jacobite rising of 1745, arriving with an order securing his release. She holds her child, showing the order to a guard, while her husband embraces her.
The Illustrated London News reviewed the painting as follows: It is time now that we speak of Millais-Millais the Pre-Raffaelite; the pretender Millais that was; the usurper Millais that is; the legitimate Millais that perhaps may be; and who has certainly a larger crowd of admirers in his little corner in the Middle Room than all the Academicians put together command; Truth to say, Mr. Millais, in this Order of Release, has achieved for himself an order of merit worth more than any academic honour, and has earned a fame which a whole corporate academy might be proud to portion amongst its constituent members. Whilst we admit-nay assert this-we would by no means wish to be understood as enrolling ourselves incontinently of this young artist's party; but simply as asserting that Pre-Raffaelitism is a great fact, and perhaps may lead to the re
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