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””’Cymon and Iphigenia””’ is an 1847–48 [[oil painting]] by the British [[artist]] [[John Everett Millais]]. Drawn from the poetry of [[John Dryden]] which was itself inspired the [[Renaissance literature |Renaissance]] work ”[[The Decameron]]” by [[Giovanni Boccaccio]], it shows the beautiful Iphigenia encountering the young nobleman Cymon in the woods. |
””’Cymon and Iphigenia””’ is an 1847–48 [[oil painting]] by the British [[artist]] [[John Everett Millais]]. Drawn from the poetry of [[John Dryden]] which was itself inspired the [[Renaissance literature |Renaissance]] work ”[[The Decameron]]” by [[Giovanni Boccaccio]], it shows the beautiful Iphigenia encountering the young nobleman Cymon in the woods. |
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The painting was made when Millais was eighteen and produced shortly before he joined the [[Pre-Raphaelite Brotherhood]] although [[William Holman Hunt]] assisted with the drapery. |
The painting was made when Millais was eighteen and produced shortly before he joined the [[Pre-Raphaelite Brotherhood]] although [[William Holman Hunt]] assisted with the drapery.<ref>Hartley p.94</ref> It is stylistically close to the work of [[William Etty]] who was well-known for his [[nude art]] during the [[Regency era|Regency]] and early [[Victorian era]]. Millais submitted the work to the [[Royal Academy Exhibition of 1848]] held at the [[National Gallery]], but it was rejected by the hanging committee. Within a year Millais came to regret the stylistic choice of the painting.<ref>Smith p.90</ref> A self-conscious Millais did not submit another nude scene until ”[[The Knight Errant (painting)|The Knight Errant]]” in 1870.<ref>Smith p.149-50</ref> |
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The painting was bought by Oxford dealer James Wyatt from Millais in 1849 for £60.<ref name=”Tate”>{{cite book |last= |first= |date=1984 |title=The Pre-Raphaelites |url=https://archive.org/details/preraphaelites00tate/page/60/mode/2up |location=London |publisher=Tate Gallery |page=58 |isbn= |access-date=1 December 2025}}</ref> Today the painting is in the collection of the [[Lady Lever Art Gallery]], having been allocated to the gallery after being [[accepted in lieu]] by the government in 2004.<ref>https://www.liverpoolmuseums.org.uk/artifact/cymon-and-iphigenia</ref> |
The painting was bought by Oxford dealer James Wyatt from Millais in 1849 for £60.<ref name=”Tate”>{{cite book |last= |first= |date=1984 |title=The Pre-Raphaelites |url=https://archive.org/details/preraphaelites00tate/page/60/mode/2up |location=London |publisher=Tate Gallery |page=58 |isbn= |access-date=1 December 2025}}</ref> Today the painting is in the collection of the [[Lady Lever Art Gallery]], having been allocated to the gallery after being [[accepted in lieu]] by the government in 2004.<ref>https://www.liverpoolmuseums.org.uk/artifact/cymon-and-iphigenia</ref> |
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Latest revision as of 10:59, 1 December 2025
Painting by John Everett Millais
Cymon and Iphigenia is an 1847–48 oil painting by the British artist John Everett Millais. Drawn from the poetry of John Dryden which was itself inspired the Renaissance work The Decameron by Giovanni Boccaccio, it shows the beautiful Iphigenia encountering the young nobleman Cymon in the woods.
The painting was made when Millais was eighteen and produced shortly before he joined the Pre-Raphaelite Brotherhood although William Holman Hunt assisted with the drapery.[1] It is stylistically close to the work of William Etty who was well-known for his nude art during the Regency and early Victorian era. Millais submitted the work to the Royal Academy Exhibition of 1848 held at the National Gallery, but it was rejected by the hanging committee. Within a year Millais came to regret the stylistic choice of the painting.[2] A self-conscious Millais did not submit another nude scene until The Knight Errant in 1870.[3]
The painting was bought by Oxford dealer James Wyatt from Millais in 1849 for £60.[4] Today the painting is in the collection of the Lady Lever Art Gallery, having been allocated to the gallery after being accepted in lieu by the government in 2004.[5]
- Hartley, Lucy. Physiognomy and the Meaning of Expression in Nineteenth-Century Culture. Cambridge University Press, 2005.
- Smith, Alison. The Victorian Nude: Sexuality, Morality and Art. Manchester University Press, 1996.
