Explore the Reception of this artwork.
When Ophelia was first publicly exhibited at the Royal Academy in London in 1852, it was not universally acclaimed. A critic in The Times wrote that "there must be something strangely perverse in an imagination which souses Ophelia in a weedy ditch, and robs the drowning struggle of that lovelorn maiden of all pathos and beauty", while a further review in the same newspaper said that "Mr. Millais's Ophelia in her pool ... makes us think of a dairymaid in a frolic". Even the great art critic John Ruskin, an avid supporter of Millais, while finding the technique of the painting "exquisite", expressed doubts about the decision to set it in a Surrey landscape and asked, "Why the mischief should you not paint pure nature, and not that rascally wirefenced garden-rolled-nursery-maid's paradise?"In the 20th century, Salvador Dalí wrote glowingly in an article published in a 1936 edition of the French Surrealist journal Minotaure about the artistic movement that inspired the painting. "How could Salvador Dalí fail to be dazzled by the flagrant surrealism of English Pre-Raphaelitism. The Pre-Raphaelite painters bring us radiant women who are, at the same time, the most desirable and most frightening that exist." He later went on to re-interpret Millais's painting in a 1973 work entitled Ophelia's Death.
In 1906, Japanese novelist Natsume Sōseki called the painting "a thing of considerable beauty" in his novel Kusamakura; since then, the painting has been highly popular in Japan. It was exhibited in Tokyo in 1998 and travelled there again in 2008.
Surrealist English Pre-Raphaelitism John Ruskin The Times Surrey Salvador Dalí London Royal Academy Kusamakura Ophelia Minotaure Natsume Sōseki