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Updated: May 27, 2025
Mr Robins was not generally given to shaking hands indeed, some of the choir thought he was too much stuck up to do so; but just then he seized Millet's hand and shook it quite boisterously, at the same time advancing with the apparent intention of accompanying him in a friendly manner to the gate, a movement which compelled Millet to back in the same direction, and cut short his farewell remarks, which frequently lasted for ten minutes or more.
The Sower, the second painting of the subject, painted in 1850, and exhibited in the Salon of 1850-51. It is now in the Vanderbilt collection, New York. A pencil sketch of the Sower is in the collection of Millet's drawings, at the Boston Museum of Fine Arts. The Gleaners, a painting first exhibited at the Salon of 1867. It was sold to M. Binder of l'Isle Adam for 2000 francs.
Why should we be at the trouble of undertaking a hot, dusty railway journey in search of Gaelic tombs, Gothic churches, or Merovingian remains when we have the essence of deliciousness at our very door? waving fields of ripe corn, amid which the reapers in twos and threes are at work picturesque figures that seemed to have walked out of Millet's canvas lines of poplars along the curling river, beyond hills covered with woods, a clustering village, or a chateau, here and there.
But Millet's father was a sober and austere man, a person of great dignity and solemnity, who decided to put his son's powers to the test in a very regular and critical fashion. He had often watched Francois drawing, and he thought well of the boy's work.
"But why are you so sure?" "Because, Jeff, it is written that God does not `afflict the children of men willingly. He does it for their good, and that good cannot fail of accomplishment, unless they refuse the good and choose the evil." Again Jeff became silent and thoughtful. "I have meditated much of late," he said, "about Captain Millet's adventure in China "
"The beautiful is the fitting," was his final summary of æsthetic theory, and the theory was put into practice on every canvas. In point of composition Millet's pictures have great excellence. "I try not to have things look as if chance brought them together," he said, "but as if they had a necessary bond between them."
An English critic, who visited the spot in the days of Millet's greatest celebrity, was astonished to find the painter, whom he had come to see, strolling about the village in rustic clothes, and even wearing the sabots or wooden shoes which are in France the social mark of the working classes, much as the smock-frock used once to be in the remoter country districts of England.
Three men are standing before Millet's canvas. One recognizes the subject of the picture. With the pleasure of recognition he notes what the artist has here represented, and he is interested in the situation. This is a peasant, and he is sowing his grain.
Rembrandt, however, sought expression principally in the countenance, and Millet had a fuller understanding of the expressiveness of the entire body. The work of each thus complements that of the other. Millet's passion for figure expression was first worked out in painting the nude.
The impression which a picture makes upon the beholder maybe phrased by him in words, which are his own means of expression; but he suggests the import of the picture only incompletely. If I describe in words Millet's painting of the "Sower" according to my understanding of it, I am telling in my own terms what the picture means to me.
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