| Jean-Francois Millet Wiki
Jean-François Millet (October 4, 1814 – January 20, 1875) was a French painter and one of the founders of the Barbizon school in rural France. Millet is noted for his scenes of peasant farmers; he can be categorized as part of the naturalism and realism movements.Life and work
Millet was the first child of Jean-Louis-Nicolas and
Aimée-Henriette-Adélaïde Henry Millet, members of the peasant community
in the village of Gruchy, in Gréville-Hague (Normandy).[1] Under the guidance of two village priests, Millet acquired a knowledge of Latin and modern authors, before being sent to Cherbourg in 1833 to study with a portrait painter named Paul Dumouchel. By 1835 he was studying full-time with Lucien-Théophile Langlois, a pupil of Baron Gros, in Cherbourg. A stipend provided by Langlois and others enabled Millet to move to Paris in 1837, where he studied at the École des Beaux-Arts with Paul Delaroche. In 1839 his scholarship was terminated, and his first submission to the Salon was rejected.[1]
After his first painting, a portrait, was accepted at the Salon of 1840, Millet returned to Cherbourg to begin a career as a portrait painter.
However, the following year he married Pauline-Virginie Ono, and they
moved to Paris. After rejections at the Salon of 1843 and Pauline's
death by consumption, Millet returned again to Cherbourg.[1] In 1845 Millet moved to Le Havre
with Catherine Lemaire, whom he would marry in a civil ceremony in
1853; they would have nine children, and remain together for the rest of
Millet's life.[2] In Le Havre he painted portraits and small genre pieces for several months, before moving back to Paris.
It was in Paris in the middle 1840s that Millet befriended Constant Troyon, Narcisse Diaz, Charles Jacque, and Théodore Rousseau, artists who, like Millet, would become associated with the Barbizon school; Honoré Daumier, whose figure draftsmanship would influence Millet's subsequent rendering of peasant subjects; and Alfred Sensier, a government bureaucrat who would become a lifelong supporter and eventually the artist's biographer.[3] In 1847 his first Salon success came with the exhibition of a painting Oedipus Taken down from the Tree, and in 1848 his Winnower was bought by the government.
The Captivity of the Jews in Babylon, Millet's most ambitious
work at the time, was unveiled at the Salon of 1848, but was scorned by
art critics and the public alike. The painting eventually disappeared
shortly thereafter, leading historians to believe that Millet destroyed
it. In 1984, scientists at the Museum of Fine Arts in Boston x-rayed Millet's 1870 painting The Young Sherpherdess looking for minor changes, and discovered that it was painted over Captivity. It is now believed that Millet reused the canvas when materials were in short supply during the Franco-Prussian War.
[edit] Barbizon
In 1849 Millet painted Harvesters, a commission for the state. In the Salon of that year he exhibited Shepherdess Sitting at the Edge of the Forest,
a very small oil which marked a turning away from previous idealized
pastoral subjects, in favor of a more realistic and personal approach.[4] In June of that year he settled in Barbizon with Catherine and their children.
In 1850 Millet entered into an arrangement with Sensier, who provided
the artist with materials and money in return for drawings and
paintings, while Millet simultaneously was free to continue selling work
to other buyers as well.[5] At that year's Salon he exhibited Haymakers and The Sower, his first major masterpiece and the earliest of the iconic trio of paintings that would include The Gleaners and The Angelus.[6]
From 1850 to 1853 Millet worked on Harvesters Resting (Ruth and Boaz), a painting he would consider his most important, and on which he worked the longest. Conceived to rival his heroes Michelangelo and Poussin,
it was also the painting that marked his transition from the depiction
of symbolic imagery of peasant life to that of contemporary social
conditions. It was the only painting he ever dated, and was the first
work to garner him official recognition, a second-class medal at the
1853 salon.[7]
[edit] The Gleaners
Main article: The Gleaners
This is one of the most well known of Millet's paintings, The Gleaners
(1857). Walking the fields around Barbizon one theme returned to
Millet's pencil and brush for seven years—gleaning—the centuries old
right of poor women and children to remove the bits of grain left in the
fields following the harvest. He found the theme an eternal one, linked
to stories from the Old Testament. In 1857, he submitted the painting The Gleaners to the Salon to an unenthusiastic, even hostile, public.
(Earlier versions include a vertical composition painted in 1854, an
etching of 1855-56 which directly presaged the horizontal format of the
painting now in the Musée d'Orsay.[8])
A warm golden light suggests something sacred and eternal in this
daily scene where the struggle to survive takes place. During his years
of preparatory studies Millet contemplated how to best convey the sense
of repetition and fatigue in the peasants' daily lives. Lines traced
over each woman’s back lead to the ground and then back up in a
repetitive motion identical to their unending, backbreaking labor. Along
the horizon, the setting sun silhouettes the farm with its abundant
stacks of grain, in contrast to the large shadowy figures in the
foreground. The dark homespun dresses of the gleaners cut robust forms
against the golden field, giving each woman a noble, monumental
strength.
[edit] The Angelus
The Angelus, 1857–59. Musée d'Orsay, Paris.
Commissioned by a wealthy American, Thomas Gold Appleton (1812–1884),
and completed during the summer of 1857, Millet added a steeple and
changed the initial title of the work, Prayer for the Potato Crop to The Angelus
when the purchaser failed to take possession in 1859. Displayed to the
public for the first time in 1865, the painting changed hands several
times, increasing only modestly in value, since some considered the
artist's political sympathies suspect. Upon Millet's death a decade
later, a bidding war between the US and France ensued, ending some years
later with a price tag of 800,000 gold francs.
The disparity between the apparent value of the painting and the poor
estate of Millet's surviving family was a major impetus in the
invention of the droit de suite, intended to compensate artists or their heirs when works are resold.[9]
[edit] Later years
Despite mixed reviews of the paintings he exhibited at the Salon,
Millet's reputation and success grew through the 1860s. At the beginning
of the decade he contracted to paint 25 works in return for a monthly
stipend for the next three years, and in 1865 another patron, Emile
Gavet, began commissioning pastels for a collection that would
eventually include 90 works.[10] In 1867 the Exposition Universelle hosted a major showing of his work, with the Gleaners, Angelus, and Potato Planters among the paintings exhibited. The following year Frédéric Hartmann commissioned Four Seasons for 25,000 francs, and Millet was named Chevalier de la Légion d'Honneur.[10]
In 1870 Millet was elected to the Salon jury. Later that year he and his family fled the Franco-Prussian War,
moving to Cherbourg and Gréville, and did not return to Barbizon until
late in 1871. His last years were marked by financial success and
increased official recognition, but he was unable to fulfill government
commissions due to failing health. On January 3, 1875 he married
Catherine in a religious ceremony. Millet died on January 20, 1875.[10]
[edit] Legacy
Millet was an important source of inspiration for Vincent van Gogh,
particularly during his early period. Millet and his work are mentioned
many times in Vincent's letters to his brother Theo. Millet's late
landscapes would serve as influential points of reference to Claude Monet's paintings of the coast of Normandy; his structural and symbolic content influenced Georges Seurat as well.[11]
Millet is the main protagonist of Mark Twain's play Is He Dead?
(1898), in which he is depicted as a struggling young artist who fakes
his death to score fame and fortune. Most of the details about Millet in
the play are fictional.
Millet's painting L'homme à la houe inspired the famous poem "The Man With the Hoe" (1898) by Edwin Markham.
The Angelus was reproduced frequently in the 19th and 20th centuries. Salvador Dalí was fascinated by this work, and wrote an analysis of it, The Tragic Myth of The Angelus of Millet.
Rather than seeing it as a work of spiritual peace, Dalí believed it
held messages of repressed sexual aggression. Dalí was also of the
opinion that the two figures were praying over their buried child,
rather than to the Angelus.
Dalí was so insistent on this fact that eventually an X-ray was done of
the canvas, confirming his suspicions: the painting contains a
painted-over geometric shape strikingly similar to a coffin.[12]
However, it is unclear whether Millet changed his mind on the meaning
of the painting, or even if the shape actually is a coffin.
- ^ a b c Murphy, p.xix.
- ^ Murphy, p.21.
- ^ Champa, p.183.
- ^ Murphy, p.23.
- ^ Murphy, p. xix.
- ^ Murphy, p.31.
- ^ Murphy, p. 60.
- ^ Murphy, p. 103.
- ^ Stokes, p. 77.
- ^ a b c Murphy, p. xx.
- ^ Champa, p. 184.
- ^ Néret, 2000
[edit] References
- Champa, Kermit S. The Rise of Landscape Painting in France: Corot to Monet. Harry N. Abrams, Inc., 1991. ISBN 0-8109-3757-3
- Murphy, Alexandra R. Jean-François Millet. Museum of Fine Arts, Boston, 1984. ISBN 0-87846-237-6
- Stokes, Simon. Art and Copyright. Hart Publishing, 2001. ISBN 184113225X
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