Influence On Millais
After his marriage, Millais began to paint in a broader style, which Ruskin condemned as a "catastrophe". Marriage had given him a large family to support, and it is claimed that his wife encouraged him to churn out popular works for financial gain and to maintain her busy social life. However, there is no evidence that she consciously pressured him to do so, though she was an effective manager of his career and often collaborated with him in choosing subjects. Her journal indicates her high regard for her husband's art, and his works are still recognisably Pre-Raphaelite in style several years after his marriage.
However, Millais eventually abandoned the Pre-Raphaelite obsession with detail and began to paint in a looser style which produced more paintings for the time and effort. Many were inspired by his family life with his wife, often using his children and grandchildren as models. Millais also used his sister-in-law, Sophy Gray, then in her early teens, as the basis of some striking images in the mid to late 1850s, provoking suggestions of a mutual infatuation.
Read more about this topic: Effie Gray
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