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On the Lyn, North Devon (w / c heightened with bodycolour & gum arabic)
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On the Lyn, North Devon (w / c heightened with bodycolour & gum arabic)
2956790 On the Lyn, North Devon (w/c heightened with bodycolour & gum arabic) by Millais, William Henry (1828-99); 48.2x71.1 cm; Private Collection; (add.info.: The River Lyn in North Devon consists of two channels, the East and West Lyn, that rise on Exmoor and join at Lynmouth. The East Lyn drops through a steep rocky valley or cleave above Lynmouth in an area known as Little Switzerland to the Romantic poets, a dramatic landscape then remote and inaccessible, hidden in ancient oak woodland. It was a favourite haunt of Millais, whose brother John Everett tried to bully him into doing nothing all summer but paint in the fields (a comment by Rossetti in 1849). He was overshadowed by his brother all his life, but he was the first of the Pre-Raphaelite set to apply their principles to landscape. From about 1860, he mostly painted river landscapes in watercolour, and two other highly finished watercolours of the Lyn are dated 1865.); Photo eThe Ms Gallery, London; English, out of copyright
Media ID 23260926
© The Maas Gallery, London / Bridgeman Images
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This print captures the enchanting beauty of "On the Lyn, North Devon" by William Henry Millais. Measuring 48.2x71.1 cm, this artwork showcases a stunning landscape that transports viewers to the picturesque River Lyn in North Devon. The composition portrays two channels, the East and West Lyn, merging at Lynmouth after originating from Exmoor. The East Lyn cascades through a rugged valley above Lynmouth known as Little Switzerland - an area that fascinated Romantic poets with its remote and inaccessible allure nestled within ancient oak woodland. Millais found solace in this breathtaking location, often seeking refuge from his overshadowed life dominated by his brother John Everett's influence. Despite facing constant comparison and pressure, Millais became the first Pre-Raphaelite artist to apply their principles to landscape painting. In this particular piece created around 1865 using watercolor heightened with bodycolor and gum arabic techniques, Millais skillfully captures the essence of the river landscapes he was renowned for during this period of his career. This remarkable print is part of a private collection but can be admired at The Ms Gallery in London thanks to Bridgeman Images' preservation efforts. It serves as a testament to Millais' mastery in capturing nature's splendor while showcasing his pioneering role within the Pre-Raphaelite movement.
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