This study focuses on Portraits of the Wyatt Family of John Everett Millais (1829-1896) who was active in England during Victorian Age. Portraits of the Wyatt Family refers to both James Wyatt and his Granddaughter, Mary Wyatt (1849) and Eliza Wyatt and her Daughter, Sarah Wyatt (1850), and these paintings were done for his patron James Wyatt in the early stage of Pre-Raphaelites Brotherhood (P.R.B.). In the 19th century, the British Academy of painting did not move forward from just imitating the works of the past, paying the best tribute to Raphael and Michelangelo and pursuing Joshua Reynolds’s Discourses on Art of 18th century. In criticizing such a stream, P.R.B. came up to the surface in 1848 initiated by Millais, William Holman Hunt, and Dante Gabriel Rossetti with an emphasis on recovering sincerity in painting. In Portraits of the Wyatt Family, it contains various features. In this paper, these specific features are divided into two parts: detailed expression and expression of distorted perspective. It seems that P.R.B.’s belief that thorough observation on small details opens to a window to find the truth in them played as a source to enable detailed depiction. And Portraits of the Wyatt Family distorted the perspective of the high Renaissance traditional perspective. Distorted perspective makes viewers to look at the painting with the same perspective, which suggests a new approach of seeing the picture, not separating the center and periphery in the painting. This study shows that ‘images-within-images’ of the Portraits of the Wyatt Family function reversely from those in traditional art and they are directly reflecting the ideology attached to women in the mid-nineteenth century of Britain. In this paper, it analyzes that ‘images-within-images’ have two different characters at the same time. Thus, this study is significant in that this approach provides a chance to explore the implications in wider extent, instead of just seeing Portraits of the Wyatt Family as family pictures. This study interprets the Portraits of the Wyatt Family in line with the characteristics of P.R.B.. Therefore capturing various hidden meanings from the Portraits of the Wyatt Family and allowing better understanding of the work.

Ⅰ. 들어가는 말
 Ⅱ. 밀레이와 와이어트가(家)
 Ⅲ. <와이어트가 초상화>의 형식적 특징- 라파엘전파적 요소를 중심으로
 Ⅳ. 그림 속의 그림
  1. 아카데미즘 회화에 대한 반대 의식
  2. 빅토리아 시대 여성관의 반영
 Ⅴ. 나오는 말

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