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Jean-François Millet (October 4,1814 鈥 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.
Youth:
Millet was the first child of Jean-Louis-Nicolas and Aim茅e-Henriette-Ad茅laïde Henry Millet,members of the peasant community in the village of Gruchy,in Gr茅ville-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-Th茅ophile 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]
Paris:
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 Th茅odore Rousseau,artists who,like Millet,would become associated with the Barbizon school; Honor茅 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.
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]
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 Fr茅d茅ric Hartmann commissioned Four Seasons for 25,000 francs,and Millet was named Chevalier de la L茅gion 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 Gr茅ville,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]
Youth:
Millet was the first child of Jean-Louis-Nicolas and Aim茅e-Henriette-Ad茅laïde Henry Millet,members of the peasant community in the village of Gruchy,in Gr茅ville-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-Th茅ophile 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]
Paris:
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 Th茅odore Rousseau,artists who,like Millet,would become associated with the Barbizon school; Honor茅 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.
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]
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 Fr茅d茅ric Hartmann commissioned Four Seasons for 25,000 francs,and Millet was named Chevalier de la L茅gion 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 Gr茅ville,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]
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