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Updated: May 27, 2025
At the top of the street, in a little three-roomed house, the painter and his wife settled down quietly; and here they lived for twenty-seven years, long after Millet's name had grown to be famous in the history of contemporary French painting.
This unexercised talent Francois inherited in a still greater degree. As time went on, he progressed to making little drawings on his own account; and we may be sure the priest and all the good wives of Gruchy had quite settled in their own minds before long that Jean Francois Millet's hands would be able in time to paint quite a beautiful altar-piece for the village church.
Vinet and some early works of the Barbizon school; Corot, 139, the Forum at Rome; 140, the Colosseum; 141F, The Belfry at Douai and others. Millet's sketch of the Church at Gréville, 641, was found in his studio after his death; another study is 642, The Bathers; 644A, The Seamstress, 642A is a portrait of the artist's sister-in-law.
April 18. Went out three or four miles to the house of Quincy Shaw, to see a collection of J. F. Millet's pictures. Two rapt hours. Never before have I been so penetrated by this kind of expression. I stood long and long before "the Sower." I believe what the picture-men designate "the first Sower," as the artist executed a second copy, and a third, and, some think, improved in each.
The rude forefathers of our country may have in a degree resembled the French peasant of Millet's youth; but their Protestant belief made them more independent in thought, and the problems of a new country, and the lack of stability inherent to the colonist, robbed them of the fanatical love of the earth, which is perhaps the strongest trait of the peasant.
In this picture the figure of the woman nursing her child in the background has an amplitude of line and graciousness of pose that places it on a plane with Millet's renderings of similar subjects, while the painting in itself is of a quality never achieved by the poetic Frenchman.
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.
The men wore the blouse and wooden shoes of Millet's country; the orchard was one that belonged to his father. The other drawing showed a starry night. A man was coming from the house with loaves of bread in his hand which he gave to another man who eagerly received them. Underneath, in Latin, were the words from St.
Compare, for example, his peasant pictures with those of the almost purely literary painter Jules Breton, who has evidently chosen his field for its sentimental rather than its pictorial value, and whose work is, perhaps accordingly, by contrast with Millet's, noticeably external and superficial even on the literary side.
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.
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