The faintest beginnings of blue and gray smoke can be seen in the lower left as the bonfire begins to smolder. All appear melancholy and somber as they continue their task of building the bonfire leaf pile. The older one is holding a rake, while the youngest holds an apple with a bite taken from it. The two girls on the right are looking away from the viewer. They are in dark green and have their long hair loose. The two girls on the left stare at the viewer as they add leaves to the pile.
In true Pre-Raphaelite fashion, the leaves are in extreme detail, directing the viewer’s gaze from the bottom of the canvas, at the leaves, up centrally towards the girls. In this piece, Millais depicts four young girls standing around a pile of autumn leaves as they build a bonfire. He painted this in his own garden in Perth, Scotland shortly after returning from his honeymoon with his new wife, Effie. “Autumn Leaves” is a lovely oil on canvas painting by the English Pre-Raphaelite artist, John Everett Millais, from 1856. Today, I am sharing a piece by the immensely talented John Everett Millais. I chose the subject of burning leaves as most calculated to produce this feeling.“Autumn Leaves”, John Everett Millais, 1856, oil on canvas. Stephens, Millais wrote to him that he had "intended the picture to awaken by its solemnity the deepest religious reflection. The apple held by the youngest girl at the right may allude to the loss of childhood innocence implied by reference to original sin and the expulsion from the Garden of Eden. Rise in the heart, and gather to the eyes,Īnd thinking on the days that are no more. Tears from the depth of some divine despair Tears, idle tears, I know not what they mean. Warner suggests that lines from Tennyson's song " Tears, Idle Tears" in The Princess (1847) may have influenced him:
Malcolm Warner argues that Millais was influenced by the poetry of Tennyson, at whose house he had once helped to rake together autumn leaves.
The painting has typically been interpreted as a representation of the transience of youth and beauty, a common theme in Millais's art. Ī sculpture in Rodney Gardens, known as "Millais Viewpoint", recreates the view through two lower corners of a picture frame, made of stone. The painting has been seen as one of the earliest influences on the development of the aesthetic movement. The two girls on the left, modelled on Millais's sisters-in-law Alice and Sophie Gray, are portrayed in middle-class clothing of the era the two on the right are in rougher, working class clothing. They are making a bonfire, but the fire itself is invisible, only smoke emerging from between the leaves. The picture depicts four girls in the twilight collecting and raking together fallen leaves in a garden, a location now occupied by Rodney Gardens in Perth, Scotland. It was described by the critic John Ruskin as "the first instance of a perfectly painted twilight." Millais's wife Effie wrote that he had intended to create a picture that was "full of beauty and without a subject". Autumn Leaves (1856) is a painting by John Everett Millais exhibited at the Royal Academy in 1856.
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