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The Dying Man, c. 1853 (pen and brush & brown ink on paper)
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The Dying Man, c. 1853 (pen and brush & brown ink on paper)
XYC253487 The Dying Man, c.1853 (pen and brush & brown ink on paper) by Millais, John Everett (1829-96); 19.7x24.4 cm; Yale Center for British Art, Paul Mellon Collection, USA; Paul Mellon Fund; English, out of copyright
Media ID 23373654
© Paul Mellon Fund / Bridgeman Images
Atmospheric Deathbed Fireside Generations Grief Grieving Haze Hazy Relatives Sentimental Sick Sickbed Worry Dying Geriatric Pre Raphaelite Sadness
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The Dying Man, c. 1853
EDITORS COMMENTS
is a poignant and evocative artwork captured by the talented John Everett Millais. This print, measuring 19.7x24.4 cm, portrays an intimate scene that transports us to a Victorian-era interior. The atmosphere in this image is laden with sadness and grief as we witness a sickbed surrounded by worried relatives. The dying man sits solemnly in his chair, his face reflecting the weight of his illness and the passage of time. The hazy ambiance adds to the somber mood, creating an ethereal quality that enhances the emotional impact. In this tender moment, we see generations come together - a child stands nearby, perhaps too young to fully comprehend the gravity of the situation but still affected by it nonetheless. The fireside provides warmth and comfort amidst this difficult time. Millais' attention to detail shines through in every brushstroke; from the intricate folds of clothing to the expressions etched on each face, he captures both physical frailty and emotional vulnerability flawlessly. This pre-Raphaelite masterpiece speaks volumes about love, loss, and human mortality. It serves as a reminder of our shared experiences across time and invites contemplation on life's fleeting nature. Displayed at Yale Center for British Art as part of their esteemed Paul Mellon Collection, "The Dying Man" continues to resonate with viewers today – reminding us all of our own mortality while celebrating our capacity for compassion during times of hardship.
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