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Student Artwork Guide

Cymon and Iphigenia

Sir John Everett Millais, 1851

Name Class Date
Sir John Everett Millais, Cymon and Iphigenia (1851). Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Sir John Everett Millais topimpressionists.com/en/artists/sir-john-everett-millais/
Artist’s dates
1829 – 1896
Painted
1851
Medium
Oil On Canvas
Movement
Romanticism Art that puts feeling, wildness and the power of nature above calm order and rules.

Copyright This work is in the public domain. Sir John Everett Millais died in 1896; copyright lasts 70 years after the artist’s death, so it ended in 1966.

Source: TopImpressionists.com — accessed Oct. 8, 2026

Cymon and Iphigenia — Sir John Everett Millais Part 1 · The artwork

In context

Cymon and Iphigenia — Sir John Everett Millais

When was this painted?

  1. 1820
  2. 1830
  3. 1840
  4. 1850
  5. 1860
  6. 1870
  7. 1880
  8. 1890

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 67 at death.

Painted when the artist was 22. The artist lived to 67. 45 of the 289 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Sir John Everett Millais (1829–1896) ▲ this work, 1851 every dated painting, decade by decade

First works: up to 1853 Main working years: 1853–1880 Late works: from 1880

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: topimpressionists.com/en/art/similar/sir-john-everett-millais-cymon-and-iphigenia-8BWSQG-en/

Colours

Measured from the image

    Main colour

    Bronze #b38f2a

    Catalogued palette

    • #B38F2A
    • #162615
    • #5E5A1E
    • #D7CC89

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Dark The dominant colour family in the image.
    Main colour name
    Bronze
    Intensity
    Vivid How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Balanced Harmony How well the colours work together, from clashing to fully unified.
    Brightness
    Balanced How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Clear Color Presence How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Sir John Everett Millais over the last twelve months — 37 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 38.8%18,500 visits
    2. 2 Spain 13.0%6,200 visits
    3. 3 Italy 6.3%3,000 visits
    4. 4 United States of America 5.9%2,800 visits
    5. 5 France 5.2%2,500 visits
    6. 6 Romania 4.4%2,100 visits
    7. 7 South Korea 4.2%2,000 visits
    8. 8 Singapore 4.0%1,900 visits
    9. 9 Hong Kong 3.8%1,800 visits
    10. 10 Germany 2.7%1,300 visits
    11. · 27 other countries 11.7%5,600 visits

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Sir John Everett Millais

    1. 1 Ophelia, 1851 13.8%8,700 visits
    2. 2 Ophelia (Cropped), 1852 8.7%5,500 visits
    3. 3 Joan of Arc 8.7%5,500 visits
    4. 4 Ophelia, 1851 4.0%2,500 visits
    5. 5 The Ransom 2.5%1,600 visits
    6. 6 Mariana in the Moated Grange, 1851 1.9%1,200 visits
    7. 7 Autumn Leaves, 1856 1.6%1,000 visits
    8. 8 Mariana, 1851 1.6%1,000 visits
    9. 9 The Bridesmaid, 1851 1.6%1,000 visits
    10. 10 Speak! Speak! (also known as Apparition), 1895 1.4%900 visits
    11. 11 Pizarro Seizing the Inca of Peru, 1846 1.1%700 visits
    12. 12 Portrait of a Girl (Sophie Gray) 1.1%700 visits
    13. 13 The Return of the Dove to the Ark, 1851 1.0%600 visits
    14. 14 The Blind Girl, 1856 1.0%600 visits
    15. 15 Winter Fuel, 1873 1.0%600 visits
    16. 16 The Black Brunswicker 1.0%600 visits
    17. 17 The Boyhood of Raleigh, 1870 0.8%500 visits
    18. 18 John Henry, Cardinal Newman, 1881 0.8%500 visits
    19. 19 The Vale of Rest, 1858 0.8%500 visits
    20. — Cymon and Iphigenia, 1851 this painting 0.0%0 visits

    Together these works take 54.4% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 405 works by this artist, of which 176 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    Source: TopImpressionists.com — accessed Oct. 8, 2026

    Cymon and Iphigenia — Sir John Everett Millais Part 2 · In context

    About this artwork

    Cymon and Iphigenia — Sir John Everett Millais

    The painting Cymon and Iphigenia by Sir John Everett Millais is a quintessential example of Romanticism in art. Created in 1851, this stunning piece measures and is painted with oil on canvas. The scene depicts a group of people, including a man and woman standing close to each other in the center of the image, surrounded by several other individuals, some of whom appear to be naked or partially nude.

    Composition and Style

    The overall composition of the painting suggests that it captures a moment of passion and intimacy between the man and woman, with the other individuals surrounding them adding depth and complexity to the image. The use of oil on canvas allows for a rich and vibrant color palette, which is characteristic of Romanticism. This style emphasizes strong emotions and imagination, and Sir John Everett Millais was a master of capturing these elements in his work.

    Similar Works by the Artist

    Sir John Everett Millais was a prolific artist, and some of his other notable works include The Woodman's Daughter and The Return of the Dove to the Ark. These paintings can be found on https://AllPaintingsStore.com, where you can also find high-quality handmade oil painting reproductions of these and other famous works.

    The Woodman's Daughter is a beautiful example of Romanticism in art, created by Sir John Everett Millais in 1851.

    The Return of the Dove to the Ark is another stunning piece by Sir John Everett Millais, measuring 54 x 87 cm and painted with oil on canvas.

    Romanticism is a style that emphasizes strong emotions and imagination, and Sir John Everett Millais was a master of capturing these elements in his work. You can learn more about this style and the artist on https://AllPaintingsStore.com or visit the Musée Girodet in Montargis, France to see some of his works in person.

    The painting Cymon and Iphigenia is a must-see for anyone interested in Romanticism or the work of Sir John Everett Millais. With its rich colors and captivating composition, it is a true masterpiece of art.

    Source: TopImpressionists.com — accessed Oct. 8, 2026

    Cymon and Iphigenia — Sir John Everett Millais Part 3 · About this artwork

    Artist and museum

    Artist

    Sir John Everett Millais

    Born in Southampton, United Kingdom

    A Prodigy of the Pre-Raphaelites: The Life and Art of Sir John Everett Millais

    Born in Southampton in 1829, John Everett Millais entered the Royal Academy Schools at the astonishing age of eleven—the youngest student ever admitted. This early demonstration of prodigious talent foreshadowed a career that would not only define an artistic movement but also capture the Victorian imagination with its breathtaking realism and emotional depth. From his earliest days, Millais possessed a remarkable gift for observation, a quality that would become the cornerstone of his artistic style. He wasn’t merely painting what he saw; he was meticulously recreating it, imbuing each brushstroke with an almost photographic fidelity. This dedication to truth in representation set him apart and ultimately led him to challenge the established conventions of British art.

    The Birth of a Brotherhood and Artistic Rebellion

    Millais’s artistic trajectory took a pivotal turn in 1848 when, alongside Dante Gabriel Rossetti and William Holman Hunt, he founded the Pre-Raphaelite Brotherhood. This wasn't simply an aesthetic choice; it was a deliberate rebellion against what they perceived as the artificiality of academic art—art that had strayed too far from the natural world and the sincerity of early Renaissance masters, those working before Raphael. The Pre-Raphaelites sought to revive the clarity, detail, and vibrant color palettes of artists like Jan van Eyck and Fra Angelico. Their manifesto was one of truth to nature, a rejection of idealized forms, and an embrace of subjects drawn from literature, mythology, and everyday life. Millais’s early works, such as Isabella, immediately showcased this new approach—a meticulous attention to detail combined with a narrative intensity that captivated and often provoked audiences. His most controversial work during this period, Christ in the House of His Parents (1849-50), depicted the Holy Family not as ethereal beings but as ordinary working-class people, sparking outrage among critics who found its realism unsettling and even blasphemous.

    Evolving Styles and Victorian Sensibilities

    The mid-1850s marked a period of significant change for Millais, both personally and artistically. His marriage to Effie Gray, following the annulment of her marriage to John Ruskin, profoundly influenced his work. He moved away from the intensely detailed, symbolic style of his early Pre-Raphaelite paintings towards a broader, more atmospheric realism. This shift wasn’t simply a matter of stylistic preference; it reflected a growing engagement with contemporary life and a desire to capture the fleeting beauty of the natural world. Paintings like Autumn Leaves exemplify this new direction—a serene depiction of a group of young women drifting leaves on a river, imbued with a sense of melancholy and nostalgia. He also found considerable success as a portraitist, capturing the likenesses of prominent Victorian figures, including John Gladstone and Benjamin Disraeli. This period saw Millais achieve widespread popularity and financial security, but it also drew criticism from some who felt he had compromised his artistic principles.

    Legacy and Lasting Influence

    Despite these criticisms, Sir John Everett Millais remains one of the most important figures in 19th-century British art. His influence extends far beyond the Pre-Raphaelite Brotherhood; he helped to redefine the standards of realism and narrative painting, inspiring generations of artists. His iconic images—Ophelia, with its haunting beauty and symbolic richness, A Huguenot, depicting a moment of poignant drama, and countless others—continue to resonate with audiences today. Millais’s ability to blend meticulous observation with emotional depth, his mastery of color and composition, and his willingness to challenge artistic conventions cemented his place as a true innovator. In 1896, he was elected President of the Royal Academy, a testament to his enduring legacy—though sadly, he passed away only months later. His work continues to be celebrated in museums and collections worldwide, ensuring that the beauty and power of his art will endure for generations to come.

    Major Works & Collections

    Christ in the House of His Parents (1849-1850): Tate Britain, London – A controversial masterpiece that exemplifies early Pre-Raphaelite realism.

    Ophelia (1851-1852): Tate Britain, London – Perhaps his most famous work, renowned for its haunting beauty and symbolic depth.

    A Huguenot (1851-1852): Private Collection – A dramatic depiction of religious conflict and forbidden love.

    Mariana (1850-1851): Manchester Art Gallery – Inspired by Shakespeare and Tennyson, showcasing Millais’s skill in capturing mood and atmosphere.

    Autumn Leaves (1855-1856): City of Manchester Art Galleries – A serene and evocative painting that reflects his evolving style.

    Where to read more

    Find this online

    QR code linking to the download page for Cymon and Iphigenia

    topimpressionists.com/en/art/download/sir-john-everett-millais-cymon-and-iphigenia-8BWSQG-en/

    Cite this artwork

    MLA
    Millais, Sir John Everett. Cymon and Iphigenia. 1851, https://topimpressionists.com/en/art/sir-john-everett-millais-cymon-and-iphigenia-8BWSQG-en/
    APA
    Millais, Sir John Everett (1851). Cymon and Iphigenia [Painting]. https://topimpressionists.com/en/art/sir-john-everett-millais-cymon-and-iphigenia-8BWSQG-en/
    Chicago
    Sir John Everett Millais. Cymon and Iphigenia. 1851. https://topimpressionists.com/en/art/sir-john-everett-millais-cymon-and-iphigenia-8BWSQG-en/
    Harvard
    Millais, Sir John Everett (1851) Cymon and Iphigenia. Available at: https://topimpressionists.com/en/art/sir-john-everett-millais-cymon-and-iphigenia-8BWSQG-en/

    Source: TopImpressionists.com — accessed Oct. 8, 2026

    Cymon and Iphigenia — Sir John Everett Millais Part 4 · Artist and museum

    Look closely

    Cymon and Iphigenia — Sir John Everett Millais

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: myths, heroes. Do you agree? What would you add, or take away?
    4. Look back at Ophelia (Cropped) (1852), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Romanticism: Art that puts feeling, wildness and the power of nature above calm order and rules. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Source: TopImpressionists.com — accessed Oct. 8, 2026

    Cymon and Iphigenia — Sir John Everett Millais Part 5 · Look closely

    Art quiz

    Cymon and Iphigenia — Sir John Everett Millais

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What artistic movement is Cymon and Iphigenia primarily associated with?

      • A Impressionism
      • B Cubism
      • C Romanticism

    2. 2. In what year was Sir John Everett Millais's Cymon and Iphigenia created?

      • A 1830
      • B 1851
      • C 1870

    3. 3. What medium did Sir John Everett Millais use to paint Cymon and Iphigenia?

      • A Watercolor
      • B Acrylics
      • C Oil on Canvas

    4. 4. The painting depicts a scene featuring a man and woman, alongside other figures. What is the dominant characteristic of Millais's style?

      • A Abstract Expressionism
      • B Realism
      • C Surrealism

    5. 5. Which artist is known for creating similar works exploring themes of beauty and emotion, such as The Woodman’s Daughter?

      • A Claude Monet
      • B Vincent van Gogh
      • C Sir John Everett Millais

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1B · 2B · 3C · 4B · 5C

    Check any answer against the catalogue record for this painting

    Source: TopImpressionists.com — accessed Oct. 8, 2026

    Cymon and Iphigenia — Sir John Everett Millais Part 6 · Art quiz

    Questions & Answers

    What mood and emotion does "Cymon and Iphigenia" by Sir John Everett Millais express?

    "Cymon and Iphigenia" by Sir John Everett Millais conveys a romantic feeling within an overall romantic mood.

    How do contrast and harmony combine in "Cymon and Iphigenia"?

    The color analysis of "Cymon and Iphigenia" by Sir John Everett Millais records a statement contrast and a balanced harmony harmony.

    Can I examine "Cymon and Iphigenia" in more detail?

    "Cymon and Iphigenia" can be examined layer by layer on the artwork's X-Ray page, a viewer inspired by a conservator's light bench with eleven optical readings of the image.