Vanessa (Millais painting)

, who was known by that pseudonym. [ [http://www.liverpoolmuseums.org.uk/sudley/collections/millais.asp Sudley House, Vanessa] ]

"Vanessa" represents a major departure in Millais's art because he abandons fully for the first time the detailed finish that was still to be seen in "Waking" and "Sleeping", exhibited in the previous year. Influenced by the work of Diego Velázquez and Joshua Reynolds, Millais paints with dramatic, visible brush strokes in vivid colours, creating what has been described as an "almost violently modern" handling of paint. [Kidson, A., Sudley: The Emma Holt Bequest, Liverpool: National Museums and Galleries of Merseyside, p. 33.]

Esther Vanhomrigh is known as "Swift's Vanessa" because of the fictional name he gave her when he published their correspondence. The portrait is wholly imaginary. No actual image of Esther Vanhomrigh exists. She is holding a letter, presumably written to or from Swift. Her sad expression is related to the fraught nature of the relationship, which was broken up by Swift's relationship to another woman, Esther Johnson who he called "Stella". Millais also painted a companion piece depicting Stella.

The painting is part of the 18th century revival in British art at this time, when a renewed interest in the brushwork of Reynolds and Gainsborough was emerging.

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