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Working Practice
Approaches to painting in the time of Millais |
Painting in the Landscape |
Letters and Diary Extracts
Painting in the Studio |
The Model |
Preparatory Sketches |
Underdrawing & Spandrels
Underdrawing
Whilst painting Ophelia, Millais drew straight on to the canvas with pencil to mark out where the figure and
large parts of the landscape would be.
Close examination of the painting allows us to see his pencil marks at the edge of the painting.
By looking under the frame at the spandrels (the curved areas at the top left and top right of the painting, normally
covered by the frame) we can learn more about his working practice (see images below).
Spandrels
Millais is thought to have painted a water vole in his painting on 28th October.
He is then thought to have rubbed it out the following day, re-painted it again on the 6th-7th November and eventually
removed it on the advice of his friend CR Leslie (a picture hanger for the Royal Academy Exhibition of 1852).
The sketch for the water vole under the right spandrel may be a study of this creature that he decided not to include.
The creature on the left spandrel may be a study for the water vole too, or perhaps a squirrel?
Millais did admit to having trouble painting the rat.
Hunt's uncle and aunt mistook it firstly for a hare, then a rabbit, then a cat or a dog!
Also on the left spandrel we can see two sketches of birds, perhaps studies for the robin that he included among the
branches of the willow tree.
There are some trials of paint and some writing that reads 55 Chancing Lane, perhaps a house of a friend?
And on the right spandrel, we can see another sketch for a bird, and some writing that reads 'loosestrife',
which is the purple flower in the top right of the painting.
The water vole is now in danger of extinction in Britain.
If you are interested in learning more about the London Water Vole Project visit the London Wildlife Trust's website at
www.wildlondon.org.uk or see
this pdf.
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