Oil paint on canvas
Tate Collection
Works with images
General Collection
Collection
<a href="https://www.tate.org.uk/art/artists/sir-john-everett-millais-bt-379" aria-label="More by Sir John Everett Millais, Bt" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Sir John Everett Millais, Bt</a>
Mrs Bischoffsheim
Presented by Lady Fitzgerald 1944
actions: postures and motions
adults
Bischoffsheim, Clarissa
clothing and personal items
dress
emotions, concepts and ideas
fan
glove
individuals: female
jewellery
named individuals
objects
people
portraits
standing
universal concepts
wealth
woman
<p>Mrs Clarissa Bischoffsheim was the wife of the prominent Dutch financier, Henry Louis Bischoffsheim, of the house of Bischoffsheim and Goldschmidt. Mrs Bischoffsheim, or 'Mrs Bisch' as she was sometimes affectionately known, was at the centre of a wealthy and cosmopolitan social circle which revolved around Bute House, the Bischoffsheim's home in South Audley Street (now the Egyptian Embassy). The Bischoffsheims collected art and owned a number of old master portraits, including examples by Reynolds and Gainsborough, and it is likely that Millais's portrait was contrived to emulate the grand manner of the eighteenth-century portraiture that the Bischoffsheim's owned. The stately pose and richly embroidered dress allude to the elaborate and ostentatious style of the eighteenth century, when gorgeous clothes were visual symbols of wealth and power. In fact, it was to the matter of fashion that many critics referred when reviewing the portrait at the Royal Academy exhibition. The <i>Art Journal</i> described the dress as a 'very rich and curious antique chintz gown' (<i>Art Journal</i>, 1873, p.169). The <i>Saturday Review</i> was less reserved and declared that the dress would be looked upon as 'a screaming horror in any quiet, tasteful drawing room' (<i>Saturday Review</i>, vol. 35, 7 June 1873, p.749). <i>Mrs Bischoffsheim</i> is the first major portrait in which Millais adopts the three-quarter-length format. It is painted with the bold and fluent handling of paint and rich impasto characteristic of a new approach which he had adopted in the 1860s. This style, which broke from the high finish and minute detail of his earlier Pre-Raphaelite works, is comparable with French Impressionism which influenced English artists in this period. The <i>Athenaeum</i> claimed that the 'splendour and vigour' of Millais's technique were such that 'Velasquez would not be ashamed of the result' (quoted in Bennett, pp.51-2). The Spanish painter Diego Velázquez (1599-1660) was an influential figure among artists in the latter half of the nineteenth century and works by Whistler and Sargent were also likened to his manner. <i>Mrs Bischoffsheim</i> earned Millais high praise when it was exhibited at the Paris International Exhibition in 1878, at which Millais was one of few British artists to be awarded the Medal of Honour.</p>
painting oil paint canvas
29 August 2001 – 25 July 2005
2005-07-25
29 August 2001
2001-08-29
Tate Britain (London, UK)
http://www.tate.org.uk/britain/
2001-08-29
Art and Victorian Society
Collection based display
26 September 2007 – 26 October 2008
2008-10-26
26 September 2007 – 13 January 2008
2008-01-13
2007-09-26
Tate Britain (London, UK)
http://www.tate.org.uk/britain/
7 June 2008 – 17 August 2008
2008-08-17
2008-06-07
Kitakyushu Municipal Museum of Art (Kitakyushu-City, Japan)
30 August 2008 – 26 October 2008
2008-10-26
2008-08-30
Bunkamura Museum of Art (Tokyo, Japan)
2007-09-26
Millais
Exhibition
15 February 2008 – 26 October 2008
2008-10-26
15 February 2008 – 18 May 2008
2008-05-18
2008-02-15
Van Gogh Museum (Amsterdam, Netherlands)
http://www.vangoghmuseum.nl/
7 June 2008 – 17 August 2008
2008-08-17
2008-06-07
Kitakyushu Municipal Museum of Art (Kitakyushu-City, Japan)
30 August 2008 – 26 October 2008
2008-10-26
2008-08-30
Bunkamura Museum of Art (Tokyo, Japan)
2008-02-15
Millais
Loan-out
Mrs Bischoffsheim
support: 1364 × 918 mm
Presented by Lady Fitzgerald 1944
<p>Mrs Clarissa Bischoffsheim was the wife of the prominent Dutch financier, Henry Louis Bischoffsheim, of the house of Bischoffsheim and Goldschmidt. Mrs Bischoffsheim, or 'Mrs Bisch' as she was sometimes affectionately known, was at the centre of a wealthy and cosmopolitan social circle which revolved around Bute House, the Bischoffsheim's home in South Audley Street (now the Egyptian Embassy). The Bischoffsheims collected art and owned a number of old master <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/p/portrait" title="Glossary definition for 'Portrait'"><span>portraits</span></a>, including examples by Reynolds and Gainsborough, and it is likely that Millais's portrait was contrived to emulate the <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/g/grand-manner" title="Glossary definition for 'Grand Manner'"><span>grand manner</span></a> of the eighteenth-century portraiture that the Bischoffsheim's owned. The stately pose and richly embroidered dress allude to the elaborate and ostentatious style of the eighteenth century, when gorgeous clothes were visual symbols of wealth and power. In fact, it was to the matter of fashion that many critics referred when reviewing the portrait at the Royal Academy exhibition. The <i>Art Journal</i> described the dress  as a 'very rich and curious antique chintz gown' (<i>Art Journal</i>, 1873, p.169). The <i>Saturday Review</i> was less reserved and declared that the dress would be looked upon as 'a screaming horror in any quiet, tasteful drawing room' (<i>Saturday Review</i>, vol. 35, 7 June 1873, p.749).

</p><p><i>Mrs Bischoffsheim</i> is the first major portrait in which Millais adopts the three-quarter-length format. It is painted with the bold and fluent handling of paint and rich <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/i/impasto" title="Glossary definition for 'Impasto'"><span>impasto</span></a> characteristic of a new approach which he had adopted in the 1860s. This style, which broke from the high finish and minute detail of his earlier <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/p/pre-raphaelite" title="Glossary definition for 'Pre-Raphaelite'"><span>Pre-Raphaelite</span></a> works, is comparable with French <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/i/impressionism" title="Glossary definition for 'Impressionism'"><span>Impressionism</span></a> which influenced English artists in this period. The <i>Athenaeum</i> claimed that the 'splendour and vigour' of Millais's technique were such that 'Velasquez would not be ashamed of the result' (quoted in Bennett, pp.51-2). The Spanish painter Diego Velázquez (1599-1660) was an influential figure among artists in the latter half of the nineteenth century and works by Whistler and Sargent were also likened to his manner. <i>Mrs Bischoffsheim</i> earned Millais high praise when it was exhibited at the Paris International Exhibition in 1878, at which Millais was one of few British artists to be awarded the Medal of Honour. <br/><br/><b>Further reading:<br/></b>Peter Funnell, Malcolm Warner, <i>Millais: Portraits</i>, exhibition catalogue, National Portrait Gallery, London 1999, p.196, no.49, reproduced p.205 in colour, detail p.195.<br/>Andrew Wilton, <i>The Swagger Portrait: Grand Manner Portraiture in Britain from Van Dyck to Augustus John, 1630-1930</i>, exhibition catalogue, Tate Gallery, London 1992, no.64, reproduced p.191 in colour. <br/>Mary Bennett, <i>Millais</i>, exhibition catalogue, Royal Academy, London 1967, p.11, no.81, reproduced pl.30.

</p><p>Rebecca Virag<br/>February 2001</p>
Summary
2005-12-22T00:00:00
summary
SHORT_TEXT
actions: postures and motions adults Bischoffsheim, Clarissa clothing and personal items dress emotions, concepts and ideas fan glove individuals: female jewellery named individuals objects people portraits standing universal concepts wealth woman