Paper

Student Artwork Guide

The Enemy Sowing Tares

Sir John Everett Millais, 1865

Name Class Date
Sir John Everett Millais, The Enemy Sowing Tares (1865), Birmingham Museums And Art Gallery. 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 originaluniqueart.com/en/artists/sir-john-everett-millais/
Artist’s dates
1829 – 1896
Painted
1865
Medium
Oil On Canvas
Movement
Pre-Raphaelite British painters returning to bright colour and sharp detail, rejecting everything taught after Raphael.
Held at
Birmingham Museums And Art Gallery originaluniqueart.com/en/museums/birmingham-museums-and-art-gallery-birmingham/
Artistic style
Romanticism
Influences
Ruskin
Notable elements
Dramatic lighting
Subject or theme
Biblical allegory

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: OriginalUniqueArt.com — accessed Sept. 29, 2026

The Enemy Sowing Tares — Sir John Everett Millais Part 1 · The artwork

In context

The Enemy Sowing Tares — 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 36. The artist lived to 67. 124 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, 1865 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: originaluniqueart.com/en/art/similar/sir-john-everett-millais-the-enemy-sowing-tares-AS84UM-en/

Colours

Measured from the image

    Main colour

    Espresso #42292c

    Catalogued palette

    • #42292C
    • #613835
    • #F4DDB6
    • #8D5240

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

    Main colour name
    Espresso
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Gentle How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Deep_shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Balanced Soft 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 — 36 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 39.2%
    2. 2 Spain 12.9%
    3. 3 Italy 6.4%
    4. 4 United States of America 5.7%
    5. 5 France 5.1%
    6. 6 Romania 4.4%
    7. 7 South Korea 4.2%
    8. 8 Singapore 4.0%
    9. 9 Hong Kong 3.8%
    10. 10 Germany 2.8%
    11. · 26 other countries 11.5%

    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 15.2%
    2. 2 Joan of Arc 9.1%
    3. 3 Ophelia (Cropped), 1852 8.9%
    4. 4 Ophelia, 1851 4.0%
    5. 5 The Ransom 2.8%
    6. 6 Mariana in the Moated Grange, 1851 1.6%
    7. 7 Speak! Speak! (also known as Apparition), 1895 1.6%
    8. 8 Autumn Leaves, 1856 1.4%
    9. 9 Pizarro Seizing the Inca of Peru, 1846 1.2%
    10. 10 The Return of the Dove to the Ark, 1851 1.0%
    11. 11 Mariana, 1851 1.0%
    12. 12 The Black Brunswicker 1.0%
    13. 13 The Boyhood of Raleigh, 1870 0.9%
    14. 14 The Blind Girl, 1856 0.9%
    15. 15 Ruling Passion 0.9%
    16. 16 Mrs Joseph Chamberlain, 1891 0.9%
    17. 17 Hurdy Gurdy Boy, 1843 0.7%
    18. 18 Waiting, 1854 0.7%
    19. 19 Christ in the House of His Parents (`The Carpenter, 1849 0.7%
    20. — The Enemy Sowing Tares, 1865 this painting 0.0%

    Together these works take 54.5% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 405 works by this artist, of which 169 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: OriginalUniqueArt.com — accessed Sept. 29, 2026

    The Enemy Sowing Tares — Sir John Everett Millais Part 2 · In context

    About this artwork

    The Enemy Sowing Tares — Sir John Everett Millais

    A Landscape of Sin and Remorse: Millais’s “The Enemy Sowing Tares”

    Sir John Everett Millais's "The Enemy Sowing Tares," painted in 1865, is more than just a depiction of a biblical scene; it’s a profound meditation on sin, exile, and the enduring consequences of transgression. This monumental canvas, now housed at Birmingham Museums Trust, immediately draws the viewer into a desolate world dominated by a solitary figure – believed to be Cain – traversing a bleak, windswept landscape under a sky choked with storm clouds. The painting’s power lies not merely in its realistic portrayal of nature and human form but also in the potent symbolism woven throughout, reflecting the anxieties and moral complexities of Victorian England.

    Millais, a key figure in the Pre-Raphaelite Brotherhood, rejected the idealized forms and artificiality of much contemporary art. He championed a return to direct observation, meticulous detail, and a deep engagement with medieval sources – particularly the passage from Matthew 13:24-25 which describes Satan as “the enemy who sows tares among the wheat.” This biblical narrative provided the foundation for Millais’s artistic exploration, prompting him to create an image that captured not just the literal story but also its underlying spiritual and psychological weight. The painting's genesis involved a lengthy period of outdoor sketching by Millais and his model, Elizabeth Siddal, who endured harsh weather conditions to achieve the desired realism – a testament to the artist’s commitment to truthfulness in representation.

    A Symphony of Light and Shadow: Technique and Style

    The painting's remarkable quality stems from Millais’s masterful command of technique. He employed a highly detailed, almost photographic style, meticulously rendering every texture – the rough bark of the trees, the worn fabric of Cain’s clothing, the swirling patterns of the clouds. The use of impasto, particularly noticeable in the foreground elements, creates a tangible sense of physicality and depth. Millais's palette is dominated by earthy reds and browns, mirroring the desolate landscape and conveying a feeling of decay and despair. However, these somber tones are punctuated by flashes of cooler blues and grays in the distance, suggesting both the vastness of the world and the potential for redemption. The dramatic lighting, originating from an unseen source above, casts long, stark shadows that emphasize Cain’s isolation and vulnerability.

    The composition itself is carefully orchestrated to draw the viewer's eye towards the central figure. Millais utilizes a flattened perspective, prioritizing emotional impact over strict realism – a hallmark of Pre-Raphaelite art. The lines are strong and deliberate, defining the contours of the figure, the terrain, and the turbulent sky. This creates a sense of dynamism and movement, mirroring Cain’s arduous journey across the landscape. The inclusion of the small bag he carries hints at his past transgressions and perhaps a meager attempt to carry the burden of his sin.

    Symbolism and Interpretation

    Beyond its biblical narrative, “The Enemy Sowing Tares” is rich in symbolic meaning. Cain’s solitary figure represents humanity's fallen state – alienated from God and burdened by guilt. The desolate landscape symbolizes a world ravaged by sin, while the tares (weeds) represent evil and corruption subtly infiltrating the ‘wheat’ of innocence. The storm clouds overhead foreshadow impending judgment and the consequences of wrongdoing. Some art historians have interpreted the painting as an allegory for Victorian society's anxieties about social unrest and moral decay – themes prevalent during the mid-19th century.

    Elizabeth Siddal, Millais’s model, endured considerable discomfort while posing outdoors for extended periods. This experience undoubtedly informed the painting’s somber mood and the figure’s palpable sense of suffering. The image powerfully conveys a feeling of isolation, remorse, and the inescapable weight of past actions – themes that continue to resonate with viewers today.

    A Timeless Masterpiece: Relevance Today

    "The Enemy Sowing Tares" remains a compelling work of art due to its enduring exploration of universal human themes. Its depiction of sin, guilt, and redemption speaks to our deepest anxieties about morality, responsibility, and the consequences of our choices. Whether viewed as a religious allegory or a psychological portrait, Millais’s masterpiece continues to provoke contemplation and offer a poignant reflection on the complexities of the human condition. Reproductions of this iconic painting are highly sought after by collectors and interior designers alike, who appreciate its dramatic beauty, rich symbolism, and historical significance.

    Source: OriginalUniqueArt.com — accessed Sept. 29, 2026

    The Enemy Sowing Tares — 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.

    Museum

    Birmingham Museums And Art Gallery

    On show in Birmingham, United Kingdom

    A Sanctuary of Art and Industry: The Soul of Birmingham

    In the heart of the United Kingdom, where the rhythmic pulse of industrial innovation meets a profound reverence for aesthetic beauty, stands the

    Birmingham Museums & Art Gallery

    . Housed within a magnificent neoclassical edifice that commands attention in Chamberlain Square, this institution is far more than a mere repository for artifacts; it is a living chronicle of human creativity and resilience. Since its doors first opened in 1885, the gallery has served as a cultural anchor, its grand facade and intricate cast-iron columns—masterpieces of Victorian engineering by Hart, Son, Peard & Co.—whispering tales of an era defined by both grit and grandeur. The iconic Big Brum clock tower rises above the cityscape, a steadfast sentinel that has watched over generations of art lovers and historians alike.

    To step inside is to embark on a journey through layers of time and texture. For the connoisseur of the

    Pre-Raphaelite

    movement, the gallery offers an unparalleled encounter with romantic longing and meticulous detail. The halls are graced by the ethereal works of

    Edward Burne-Jones,

    Dante Gabriel Rossetti

    , and

    John Everett Millais

    , whose canvases transport the viewer to realms of myth and intense emotionality. These masterpieces, characterized by their vibrant palettes and spiritual depth, represent a pivotal moment in art history where artists sought to revive the purity of the late Middle Ages. This evocative atmosphere is complemented by an expansive collection of European paintings, ranging from the dignified poise of Renaissance portraits to the fleeting, light-drenched moments of Impressionist landscapes, creating a sweeping panorama of Western artistic evolution.

    A Tapestry of Local Heritage and Global Treasures

    Beyond the canvas, the institution celebrates the very identity of Birmingham—a city forged in the fires of the Industrial Revolution. The Industrial Gallery serves as a poignant tribute to this heritage, showcasing exquisite ceramics and intricate metalwork that reflect the ingenuity of local artisans. These objects are not merely relics; they are tangible connections to a period of transformative social change, documenting the rise of factories and the expansion of urban life through a curated lens of photographs and drawings. This dedication to local narrative is further enriched by the presence of global treasures, such as the breathtaking 2nd-century sandstone

    Sultanganj Buddha

    , which provides a serene, transcendent contrast to the city's industrial echoes.

    The museum remains a dynamic and evolving space, constantly reinventing itself to captivate contemporary audiences. It bridges the gap between high art and popular culture through diverse programming, such as:

    Celebrating the global cultural impact of rock legend

    Ozzy Osbourne

    in recent exhibitions.

    Inviting families into the prehistoric wonders of

    "GIANTS."

    Showcasing the historical character of the transformed

    Gas Hall

    through modern exhibition design.

    As the institution prepares for future milestones, such as the highly anticipated new Pre-Raphaelite display arriving in 2025, it continues to fulfill its mission: to foster curiosity and ensure that world-class art remains an accessible, inspiring sanctuary for all.

    Where to read more

    Find this online

    QR code linking to the download page for The Enemy Sowing Tares

    originaluniqueart.com/en/art/download/sir-john-everett-millais-the-enemy-sowing-tares-AS84UM-en/

    Cite this artwork

    MLA
    Millais, Sir John Everett. The Enemy Sowing Tares. 1865, Birmingham Museums And Art Gallery. https://originaluniqueart.com/en/art/sir-john-everett-millais-the-enemy-sowing-tares-AS84UM-en/
    APA
    Millais, Sir John Everett (1865). The Enemy Sowing Tares [Painting]. Birmingham Museums And Art Gallery. https://originaluniqueart.com/en/art/sir-john-everett-millais-the-enemy-sowing-tares-AS84UM-en/
    Chicago
    Sir John Everett Millais. The Enemy Sowing Tares. 1865. Birmingham Museums And Art Gallery. https://originaluniqueart.com/en/art/sir-john-everett-millais-the-enemy-sowing-tares-AS84UM-en/
    Harvard
    Millais, Sir John Everett (1865) The Enemy Sowing Tares. Birmingham Museums And Art Gallery. Available at: https://originaluniqueart.com/en/art/sir-john-everett-millais-the-enemy-sowing-tares-AS84UM-en/

    Source: OriginalUniqueArt.com — accessed Sept. 29, 2026

    The Enemy Sowing Tares — Sir John Everett Millais Part 4 · Artist and museum

    Look closely

    The Enemy Sowing Tares — 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: biblical, desolation, sin. 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. Pre-Raphaelite: British painters returning to bright colour and sharp detail, rejecting everything taught after Raphael. 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: OriginalUniqueArt.com — accessed Sept. 29, 2026

    The Enemy Sowing Tares — Sir John Everett Millais Part 5 · Look closely

    Art quiz

    The Enemy Sowing Tares — 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 biblical story does ‘The Enemy Sowing Tares’ depict?

      • A The Prodigal Son
      • B The Good Samaritan
      • C Matthew XIII: 24-25 (Sower and Weeds)

    2. 2. Which artistic movement is ‘The Enemy Sowing Tares’ most closely associated with?

      • A Impressionism
      • B Romanticism
      • C Cubism

    3. 3. What is a key characteristic of Millais's technique in this painting, as indicated by the description?

      • A Smooth blending and subtle gradations
      • B Detailed brushwork and an impasto effect
      • C Geometric abstraction and flattened perspective

    4. 4. What is the primary symbolic meaning conveyed by the desolate landscape in ‘The Enemy Sowing Tares’?

      • A A depiction of natural beauty
      • B The consequences of sin and exile
      • C A celebration of human resilience

    5. 5. In what year was ‘The Enemy Sowing Tares’ painted?

      • A 1863
      • B 1865
      • C 1870

    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.

    1C · 2A · 3B · 4B · 5B

    Check any answer against the catalogue record for this painting

    Source: OriginalUniqueArt.com — accessed Sept. 29, 2026

    The Enemy Sowing Tares — Sir John Everett Millais Part 6 · Art quiz

    Questions & Answers

    Which color stands out most in "The Enemy Sowing Tares"?

    The dominant color of "The Enemy Sowing Tares" by Sir John Everett Millais is espresso (#42292c).

    Who created "The Enemy Sowing Tares" and what style is it in?

    "The Enemy Sowing Tares" was created by Sir John Everett Millais in the Pre-Raphaelite style. Artist and movement identify the work's tradition.

    When and with what materials was "The Enemy Sowing Tares" made?

    "The Enemy Sowing Tares" was created in 1865 using the oil on canvas technique. Material and date describe how and when the original was made.