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    Jean François Millet: A Collection of Fifteen Pictures and a Portrait of the Painter, with Introduction and Interpretation
    Jean François Millet: A Collection of Fifteen Pictures and a Portrait of the Painter, with Introduction and Interpretation
    Jean François Millet: A Collection of Fifteen Pictures and a Portrait of the Painter, with Introduction and Interpretation
    Ebook114 pages1 hour

    Jean François Millet: A Collection of Fifteen Pictures and a Portrait of the Painter, with Introduction and Interpretation

    By Estelle M. Hurll

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    About this ebook

    The following book is a biography of Jean François Millet and a showcase of his beautiful works. He was a French artist and one of the founders of the Barbizon school in rural France. Millet is noted for his paintings of peasant farmers and can be categorized as part of the Realism art movement. Toward the end of his career, he became increasingly interested in painting pure landscapes. He is known best for his oil paintings but is also noted for his pastels, conte crayon drawings, and etchings.
    LanguageEnglish
    PublisherGood Press
    Release dateNov 26, 2019
    ISBN4057664630100
    Jean François Millet: A Collection of Fifteen Pictures and a Portrait of the Painter, with Introduction and Interpretation

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      Book preview

      Jean François Millet - Estelle M. Hurll

      Estelle M. Hurll

      Jean François Millet

      A Collection of Fifteen Pictures and a Portrait of the Painter, with Introduction and Interpretation

      Published by Good Press, 2022

      [email protected]

      EAN 4057664630100

      Table of Contents

      PREFACE

      CONTENTS AND LIST OF PICTURES

      INTRODUCTION

      I. ON MILLET'S CHARACTER AS AN ARTIST

      II. ON BOOKS OF REFERENCE

      III. HISTORICAL DIRECTORY OF THE PICTURES OF THIS COLLECTION

      IV. OUTLINE TABLE OF THE PRINCIPAL EVENTS IN MILLET'S LIFE

      V. SOME OF MILLET'S ASSOCIATES

      I

      GOING TO WORK

      II

      THE KNITTING LESSON

      III

      THE POTATO PLANTERS

      IV

      THE WOMAN SEWING BY LAMPLIGHT

      V

      THE SHEPHERDESS

      VI

      THE WOMAN FEEDING HENS

      VII

      THE ANGELUS

      VIII

      FILLING THE WATER-BOTTLES

      IX

      FEEDING HER BIRDS

      X

      THE CHURCH AT GRÉVILLE

      XI

      THE SOWER

      XII

      THE GLEANERS

      XIII

      THE MILKMAID

      XIV

      THE WOMAN CHURNING

      XV

      THE MAN WITH THE HOE

      XVI

      THE PORTRAIT OF MILLET

      1900

      PREFACE

      Table of Contents

      In making a selection of Millet's pictures, devoted as they are to the single theme of French peasant life, variety of subject can be obtained only by showing as many phases of that life as possible. Our illustrations therefore represent both men and women working separately in the tasks peculiar to each, and working together in the labors shared between them. There are in addition a few pictures of child life.

      The selections include a study of the field, the dooryard, and the home interior, and range from the happiest to the most sombre subjects. They show also considerable variety in artistic motive and composition, and taken together fairly represent the scope of Millet's work.

      ESTELLE M. HURLL.

      NEW BEDFORD, MASS.

      March, 1900.

      CONTENTS AND LIST OF PICTURES

      Table of Contents

      NOTE: All the pictures were made from carbon prints by Braun, Clément & Co.

      INTRODUCTION

      Table of Contents

      I. ON MILLET'S CHARACTER AS AN ARTIST

      Table of Contents

      The distinctive features of Millet's art are so marked that the most inexperienced observer easily identifies his work. As a painter of rustic subjects, he is unlike any other artists who have entered the same field, even those who have taken his own themes. We get at the heart of the matter when we say that Millet derived his art directly from nature. If I could only do what I like, he said, I would paint nothing that was not the result of an impression directly received from nature, whether in landscape or in figure. His pictures are convincing evidence that he acted upon this theory. They have a peculiar quality of genuineness beside which all other rustic art seems forced and artificial.

      The human side of life touched him most deeply, and in many of his earlier pictures, landscape was secondary. Gradually he grew into the larger conception of a perfect harmony between man and his environment. Henceforth landscape ceased to be a mere setting or background in a figure picture, and became an organic part of the composition. As a critic once wrote of the Shepherdess, the earth and sky, the scene and the actors, all answer one another, all hold together, belong together. The description applies equally well to many other pictures and particularly to the Angelus, the Sower, and the Gleaners. In all these, landscape and figure are interdependent, fitting together in a perfect unity.

      As a painter of landscapes, Millet mastered a wide range of the effects of changing light during different hours of the day. The mists of early morning in Filling the Water-Bottles; the glare of noonday in the Gleaners; the sunset glow in the Angelus and the Shepherdess; the sombre twilight of the Sower; and the glimmering lamplight of the Woman Sewing, each found perfect interpretation. Though showing himself capable of representing powerfully the more violent aspects of nature, he preferred as a rule the normal and quiet.

      In figure painting Millet sought neither grace nor beauty, but expression. That he regarded neither of these first two qualities as intrinsically unworthy, we may infer from the grace of the Sower, and the naïve beauty of the Shepherdess and the Woman Sewing. But that expression was of paramount interest to him we see clearly in the Angelus and the Man with the Hoe. The leading characteristic of his art is strength, and he distrusted the ordinary elements of prettiness as taking something from the total effect he wished to produce. Let no one think that they can force me to prettify my types, he said. I would rather do nothing than express myself feebly.

      It was always his first aim to make his people look as if they belonged to their station. The mute inglorious Milton and Maud Muller with her nameless longings had no place on his canvases. His was the genuine peasant of field and farm, no imaginary denizen of the poets' Arcady. "The

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