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.
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^ Champa, pThe painting was commissioned by Thomas Gold Appleton, an American art collector based in Boston, MassachusettsPictures from Image Archives:The Man with the Hoe is a patient servant doing God's work in His cathedral of land and skyBut after this momentary flash of insight, after this partial kindling of the divine fire which promises to turn this clay into something human, it is apparent that she will take her place beside the others and bend her back once moreAbrams, Inc., 1991"Millet must have looked some time before he found such a type," wrote one of the critics in scornIn 1849 a cholera epidemic broke out in Paris, and on the advice of engraver Charles-Emile Jacque, he moved to Barbizon, near the Fontainebleau Forest, where he was to remain the rest of his lifeThe man, baring his head, stands awkwardly holding his hat in his big, toilworn hands; the woman clasps her's reverently together and both of them bow their headsMillet's ugliness and vulgarity have no relief." To this outburst Millet could have replied that even in things homely there is a goodness which is beyond the comprehension of a blind criticArticles and Reference Sites:In 1849, Millet painted Harvesters, a commission for the stateYet all the children, even the very youngest, lowered their voices and walked on tip-toe whenever they chanced to pass it"Jean Franois Millet (Au del de l'Anglus) - Ed de Monza - 2002 - (ISBN 2-908071-93-2) L51:3) ^ Nret, 2000 For six more years he created beauty, and then he too went to his Sabbatical restand Fleming, JIn 1849, when a cholera epidemic broke out in Paris, Millet moved to Barbizon on the advice of the engraver Charles-Emile Jacque (1813-94) and took a house near that of Thodore RousseauThe 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 alikeThe Angelus (1857-9) Musee d'Orsay, ParisThe painting eventually disappeared shortly thereafter, leading historians to believe that Millet destroyed it103The Walk to Work (Le Depart pour le Travail) 1851 (150 Kb); Oil on canvas, 55.5 x 46 cm (21 7/8 x 18 1/8 in) The traffic of the carriages, the street lights deluged with fog, the narrow lanes and the dirty hovels sent the tears rushing to his eyesAmong the French artists of the nineteenth century he stands out as the patron saint of pessimism, a man who found inspiration in the sadness of human existenceIntroduction An important figure in French painting of the mid-19th century, the artist Jean-Francois Millet was a founding member of the Barbizon landscape school in France and is best known for his genre-painting and landscape painting - mainly featuring the back-breaking rural life of the French peasantryFor the earlier artist who used this name, see Francisque MilletPaul Getty Museum Exhibitions Collection Education Adult Learners College Faculty and Students K-12 Teachers and Students Kids and Families Teens Community Groups Museum Educators About the Education Department Research and Conservation Publications Public Programs Courses and Demonstrations Lectures and Conversations Performances and Films Talks and Tours Highlights of Past Programs About the J 2ffeafca65
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