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Updated: May 25, 2025
And so the father and the mother and the queer-looking, yellow children were perched on the top of the diligence with their bundles, bound for Barbizon. They looked into each other's faces and their joy was too great for speech. Living at the village of Barbizon, or near it, were Theodore Rousseau, Hughes Martin, Louis LeRoy and Clerge.
There is "something to do" at Gretz. Perhaps, for that very reason, I can recall no such enduring ardours, no such glories of exhilaration, as among the solemn groves and uneventful hours of Barbizon. This "something to do" is a great enemy to joy; it is a way out of it; you wreak your high spirits on some cut-and-dry employment, and behold them gone!
He was forty years old before he got to Paris, but once there, he turned to the men at Barbizon Rousseau, Millet, Corot, and the rest for inspiration, and began to do beautiful things indeed. Rousseau became his friend, and the art of Inness grew large and rich through such influences.
In Cherbourg I found more traces of his art and some stories of his life there that would be out of place here. I found four portraits painted while he was paying court to his first wife. I found them in a little shoe shop in a by-street, in possession of a distant relative of his first wife. From Cherbourg I went to Barbizon, where Millet spent the latter part of his life.
He was an artist of "oblique integrity": He saw unquestionably at an angle, but the angle was a beautiful one, and while many of his associates were doing American Barbizon, he was giving forth a shy, yet rare kind of expression, always a little symbolic in tendency, with the mood far more predominant.
The great morose dreamer, contemplative and grave as Wordsworth, must have made more direct and intimate appeal to Corot's soul than the charm and the gaiety of Hobbema's water-mills. Be this as it may, it was Holland that revived the long-forgotten science of values in the Barbizon painters.
As we have already seen in the picture of the Woman Feeding Hens, the dooryard in French village homes is so shut in by walls, that it has the privacy of a family living-room. This was the arrangement in Millet's own home at Barbizon. The painter was among the fortunate ones who had a garden beyond the dooryard. At the other end of this was his studio, where he worked many hours of the day.
They were all artists young, noisy, bons camarades, and of a rough and humble social type. To them the winter at Barbizon was as attractive as anywhere else.
They have made so many studies that it has become a habit; they make more, the walls of exhibitions blush with them; and death finds these aged students still busy with their horn-book. This class of man finds a congenial home in artist villages; in the slang of the English colony at Barbizon we used to call them "Snoozers."
The first indication of the future Millet is in a picture in the Salon of 1848, "The Winnower," which has, in subject at least, much the character of the work which followed his establishment at Barbizon.
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