Ruskin became acquainted with Millais after the artists made an approach to Ruskin through their mutual friend Coventry Patmore.Derrick Leon, Ruskin: The Great Victorian (Routledge and Kegan Paul, 1949), pp. 137–49. Initially, Ruskin had not been impressed by Millais's Christ in the House of His Parents (1849–50), a painting that was considered blasphemous at the time, but Ruskin wrote letters defending the Pre-Raphaelite Brotherhood to The Times during May 1851. Providing Millais with artistic patronage and encouragement, in the summer of 1853 the artist (and his brother) travelled to Scotland with Ruskin and Effie where, at Glen Finglas, he painted the closely observed landscape background of gneiss rock to which, as had always been intended, he later added Ruskin's portrait.
Ruskin became acquainted with Millais after the artists made an approach to Ruskin through their mutual friend Coventry Patmore.Derrick Leon, Ruskin: The Great Victorian (Routledge and Kegan Paul, 1949), pp. 137–49. Initially, Ruskin had not been impressed by Millais's Christ in the House of His Parents (1849–50), a painting that was considered blasphemous at the time, but Ruskin wrote letters defending the Pre-Raphaelite Brotherhood to The Times during May 1851. Providing Millais with artistic patronage and encouragement, in the summer of 1853 the artist (and his brother) travelled to Scotland with Ruskin and Effie where, at Glen Finglas, he painted the closely observed landscape background of gneiss rock to which, as had always been intended, he later added Ruskin's portrait.