Son Christopher – The Constables breaks into the House 1863

Editor: So, here we have Sir John Everett Millais' pencil drawing, "Son Christopher – The Constables breaks into the House," from 1863. It's a very intimate, domestic scene disrupted by what looks like the long arm of the law, but I’m struck by the different reactions on each person’s face. What do you make of it? Curator: Millais, closely associated with the Pre-Raphaelite movement, here provides us with an interesting case study in how narrative art reflects underlying power dynamics. Given the title and subject matter, consider the position of the artist as both storyteller and social commentator. What statement might Millais be making about the roles of law enforcement and their impact on private lives? Editor: I guess the ‘breaking into the house’ bit, the intrusion feels more unsettling when viewed alongside this quite serene domesticity… Like an invasion of privacy, or the state overstepping? Curator: Precisely. And in mid-19th century England, with growing anxieties around social order and the expanding reach of governmental power, this imagery could carry significant political weight. The Pre-Raphaelites often critiqued modern industrial society. How might this drawing connect to those concerns? Editor: Maybe showing the constables intruding into a domestic sphere is Millais criticizing increasing government influence and how it disrupted natural life? The contrast of innocence of the child and mother reading and looming menace of constables. Curator: An excellent observation! Millais subtly uses a common family portrait to subtly show an encroaching fear of the changing socio-political conditions. Editor: It is remarkable how the sketch captures such an important moment in time, as an accurate illustration. Thanks, I’m definitely looking at Millais and Pre-Raphaelites through a new lens now! Curator: Glad I could help illuminate a complex visual argument presented with incredible technique.