The 100 known paintings that tell the story Jean-Francois Millet
One hundred paintings to follow the painter who gave sowers, shepherdesses and gleaners the presence formerly reserved for heroes.
Jean-François Millet brought peasant work into great painting without asking the clogs to wipe themselves before passing. From Normandy to Barbizon, its sowers, shepherdesses and gleaners nourished realism and then inspired Van Gogh. Also browse our jean-françois Millet collection, the works of realism and the other stories from the blog Famous painters.
The Angelus
Commissioned under the title Prayer for the Potato Harvest, The Angelus was painted between 1857 and 1859 before becoming a universal image of rural contemplation. The painting went from collection to collection at spectacular prices, then Salvador Dalí transformed his peaceful wheelbarrow into an almost disturbing enigma.
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Gleaners
Presented at the Salon of 1857, Les Glaneuses placed three poor workers in the foreground, facing the distant abundance of harvests. This monumental proximity alarmed part of the criticism after 1848: Millet had painted a gesture legal and banal, but society is already making a demand for it.
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the sower
The Sower of the Salon of 1850 strides forward, his hand full of grain and the horizon behind him. His dark, almost heroic silhouette fascinated Van Gogh, who tirelessly took up this motif as if it were a patron saint of work.
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The Man with the Hoe
The Man with the Hoe caused a scandal at the Salon of 1863 with his exhausted body and his face almost swallowed by effort. Millet, however, refused the political pamphlet: he gave the work a monumental gravity that visitors were free to find sublime or terribly embarrassing.
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Shepherdess with her flock
Acquired by the State after the Salon of 1864, this immobile shepherdess dominates a herd treated like a moving mass. Millet slows down time to the point of making sheep monitoring a meditation, without transforming the young woman into a porcelain shepherdess.
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Spring
Spring belongs to the cycle of the Four Seasons commissioned by Frédéric Hartmann. A rainbow crosses an orchard still wet from the storm: Millet proves here that the peasant painter also knew how to orchestrate light with almost theatrical joy.
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Reapers at rest (Ruth and Boaz)
Millet developed the theme of Ruth and Boaz after seeing Barbizon's harvesters work. The meal suspends the work without idealizing it: the bodies rest, the tools remain close and the biblical scene slips into the contemporary countryside.
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The Wanderers' Rest
In Le Repos des faneurs, fatigue becomes the real subject: two workers abandon themselves to the ground after the cut. Presented in 1848, the work accompanied Millet's decisive turn towards a more serious rural painting, far from the worldly portraits which until then had paid his bills.
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The Sheepfold, Moonlight
Under the moon, the sheepfold is nothing more than a dark enclosure crossed by the luminous dust of sheep. Millet composed several nocturnal visions of this motif; their dense silence inspired artists who sought modern poetry without the need for a hero in costume.
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The Sheep Park, moonlight
The sheep park of 1872 transforms an everyday subject into an almost cosmic nocturnal landscape. The animals, the shepherd and the Barbizon plain blend into a silvery light where the painting seems to listen before looking.
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A valve
Le Vanneur presented at the Salon of 1848 brutally affirmed Millet's new program: painting peasant gestures on a scale hitherto reserved for history. There was nothing academic about the dust, clogs and worn apron, which was precisely their strength.
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La Becquée
A mother blows on the porridge before feeding her child, while the others wait their turn with varying patience. Millet exhibited this scene at the Salon of 1861 and gave the family meal a tender solemnity, without forgetting the modesty of the interior.
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Departure for work
Two farmers go to work in the hesitant morning light, tools on their shoulders. Millet reduces the anecdote to a minimum: the walk, the weight of the equipment and the distance to cover are enough to tell the story of a whole day before it even begins.
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The loggers
Loggers show forestry work as a physical confrontation with matter. The trunk cuts the composition, the bodies arch their backs and the effort seems so palpable that the viewer could almost demand a break.
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The Potato Harvest
The potato harvest often comes back to Millet, who knew from the inside the agricultural rhythms of his Norman childhood. Here, the figures lean towards a heavy earth: nothing is picturesque, but each gesture has the precision of a ritual.
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La Méridienne
La Méridienne seizes two workers sleeping near the millstones, in the heart of the day. Van Gogh made a famous colorful interpretation of it from an engraving, proof that a simple sleep in the fields could travel very far in the history of art.
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The Church of Gréville
Millet had grown up near this church in Gréville, in Manche, and painted it at the end of his life with a very concrete memory of the paths and walls. The building does not crush the landscape: it stands there like an old, robust and not very talkative neighbor.
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Starry night
Long before Van Gogh made the title famous, Millet painted a Starry Night where the Milky Way dominates an almost empty plain. The scene refuses easy effects: a few silhouettes, an immense sky and this impression that the countryside is still working when everyone is sleeping.
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Haystacks, autumn
These autumn millstones date from Millet's last years, when the landscape took an increasing place in his work. The masses of hay and the changing sky announce the series that Monet would later devote to the same motif, with more sun but not necessarily more hay.
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Autumn Landscape with a Flock of Turkeys
A herd of turkeys crosses an autumn landscape under the supervision of a young guardian. Millet treats the birds without caricature and makes their silhouettes dark punctuation in the red grass.
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The Herb Burner
Dated 1859, "La Brûleuse d'herbes" concentrates an ordinary scene, specific to "La Brûleuse d'herbes". In the Paintings Department of the Louvre Museum, "La Brûleuse d'herbes" leads Millet to retain the weight that "La Brûleuse" has of herbs" gives to bodies and soil. With "The Grass Burner", its realism still leaves an element of mystery.
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Death and the Lumberjack
Made around 1859, "Death and the Lumberjack" measures the effort against wood, a party specific to "Death and the Lumberjack". In Ny Carlsberg Glyptotek, "Death and the Lumberjack" leads Millet to retain the tools that "Death and the Lumberjack" place in the foreground. With "Death and the Lumberjack", the motif thus retains lasting dignity.
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The Wood Splitter
Designed in 1853, "Le Fendeur de bois" measures the effort against wood, a course specific to "Le Fendeur de bois". In the Painting Department of the Louvre Museum, "Le Fendeur de bois" led Millet to retain the tools that "Le Fendeur de bois" place in the foreground. With "The Wood Splitter", lived time replaces any easy anecdote.
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The bundle carriers
Completed in 1852, "Les Porteuses de fagots" measures the effort against wood, a course specific to "Les Porteuses de fagots". At the Hermitage Museum, "Les Porteuses de fagots" led Millet to retain the tools that "Les Porteuses de fagots" place in the foreground. With "Les Porteuses de fagots", the composition gives new gravity to everyday life.
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Women Carrying Faggots
Painted in 1858, "Women Carrying Faggots" concentrates an ordinary scene, a party specific to "Women Carrying Faggots". At the Metropolitan Museum of Art, "Women Carrying Faggots" led Millet to retain the weight that "Women Carrying Faggots" gives to bodies and soil. With "Women Carrying Faggots", millet unites observation and rural memory.
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The Sheepshearers
Dated 1857, "The Sheepshearers" dismisses worldly pastoral care, a party specific to "The Sheepshearers". At the Art Institute of Chicago, "The Sheepshearers" led Millet to hold back the slowness that "The Sheepshearers" gave to the guard. With " The Sheepshearers", its realism still leaves an element of mystery.
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The Goose Keeper's Bath
Produced around 1863, "The Goose Keeper's Bath" concentrates an ordinary scene, a part specific to "The Goose Keeper's Bath". At Walters Art Museum, "The Goose Keeper's Bath" leads Millet to retain the weight that "The Goose Keeper's Bath" the goose herder gives to the bodies and the ground. With "The Goose Keeper’s Bath", the motif thus retains lasting dignity.
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Self Portrait
Designed in 1850, "Self Portrait" reveals Millet portraitist, a party specific to "Self Portrait". At Osterreichische Galerie Belvedere, "Self Portrait" leads Millet to retain the attitude that "Self Portrait" prefers to accessories. With " Self Portrait, lived time replaces any easy anecdote.
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Portrait of Louise-Antoinette Feuardent
Completed in 1841, "Portrait of Louise-Antoinette Feuardent" reveals Millet portraitist, part specific to "Portrait of Louise-Antoinette Feuardent". At the J. Paul Getty Museum, "Portrait of Louise-Antoinette Feuardent" leads Millet to remember the attitude that "Portrait of Louise-Antoinette Feuardent" prefers to accessories. With "Portrait of Louise-Antoinette Feuardent", the composition gives a new gravity to everyday life.
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Naked woman lying down
Painted in 1844, "Nude Woman Lying" refuses theatrical pose, a party specific to "Nude Woman Lying". At the Musée d'Orsay, "Nude Woman Lying" leads Millet to retain the light that "Nude Woman Lying" attaches to the gesture. With "Nude Woman Lying", millet unites observation and rural memory.
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Daphnis and Chloe
Dated 1865, "Daphnis et Chloé" concentrates an ordinary scene, a party specific to "Daphnis et Chloé". At the National Museum of Western Art, "Daphnis et Chloé" leads Millet to retain the weight that "Daphnis et Chloé" gives to bodies and on the ground. With "Daphnis and Chloé", its realism still leaves an element of mystery.
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Oedipus Taken Down from the Tree
Produced around 1847, "Oedipus Taken Down from the Tree" concentrates an ordinary scene, a part specific to "Oedipus Taken Down from the Tree". At the National Gallery of Canada, "Oedipus Taken Down from the Tree" led Millet to remember the weight that "Oedipus Taken Down from the Tree" gives to bodies and the ground. With "Oedipus Taken Down from the Tree", the motif thus retains lasting dignity.
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The Good Samaritan
Designed in 1846, "The Good Samaritan" concentrates an ordinary scene, a party specific to "The Good Samaritan". At the National Museum of Wales, "The Good Samaritan" led Millet to retain the weight that "The Good Samaritan" gave to the body and ground. With "The Good Samaritan", the time lived replaces any easy anecdote.
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In the Auvergne
Completed in 1866, "In the Auvergne" concentrates an ordinary scene, a part specific to "In the Auvergne". At the Art Institute of Chicago, "In the Auvergne" led Millet to retain the weight that "In the Auvergne" gave to bodies and the ground. With "In the Auvergne", the composition gives a new gravity to everyday life.
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La Fileuse, Auvergne goatherd
Painted in 1869, "La Fileuse, Auvergne goatherd" refuses theatrical pose, a party specific to "La Fileuse, Auvergne goatherd". At the Musée d'Orsay, "La Fileuse, Auvergne goatherd" led Millet to retain the light that "La Fileuse, auvergne goatherd" attaches to the gesture. With "La Fileuse, Auvergne goatherd", millet unites observation and rural memory.
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The Sewer
Dated 1869, "La Couseuse" concentrates an ordinary scene, a part specific to "La Couseuse". At the Musée d'Orsay, "La Couseuse" leads Millet to retain the weight that "La Couseuse" gives to the bodies and the ground. With "La Couseuse", its realism still leaves an element of mystery.
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Woman sews in the light of the lamp
Produced around 1871, "Woman sews in the light of the lamp" refuses theatrical pose, a part specific to "Woman sews in the light of the lamp". At Fop Smit Collection, "Woman sews in the light of the lamp" leads Millet to retain the light that "Woman sews in the light of the lamp" attaches to the gesture. With "Woman sews in the light of the lamp", the pattern thus retains lasting dignity.
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La Bouillie
Designed in 1861, "La Bouillie" concentrates an ordinary scene, a part specific to "La Bouillie". At the Marseille Museum of Fine Arts, "La Bouillie" leads Millet to retain the weight that "La Bouillie" gives to bodies and the ground. With "La Bouillie", lived time replaces any easy anecdote.
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Peasant woman putting her bread in the oven
Completed in 1854, "Paysanne bake her bread" concentrates an ordinary scene, a part specific to "Paysanne bake her bread". At the Kroeller-Müller Museum, "Paysanne bake her bread" leads Millet to retain the weight that "Paysanne putting your bread in the oven gives it to the body and the ground. With "Paysanne putting her bread in the oven", the composition gives a new gravity to everyday life.
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Woman at Well
Painted in 1850, "Woman at Well" refuses theatrical pose, a party specific to "Woman at Well". At the Princeton University Museum of Art, "Woman at Well" leads Millet to retain the light that "Woman at Well" attaches to the gesture. With "Woman at Well", millet unites observation and rural memory.
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In Milkmaid
Dated 1853, "A Milkmaid" tells the story of the economy of animals, a party specific to "A Milkmaid". At Barber Institute of Fine Arts, "A Milkmaid" led Millet to retain the Norman precision inscribed in "A Milkmaid". With "A Milkmaid", his realism still leaves an element of mystery.
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Norman dairy in Gréville
Produced around 1871, "Norman Dairy in Gréville" tells the story of the economy of animals, a party specific to "Norman Dairy in Gréville". At the Los Angeles County Museum of Art, "Norman Dairy in Gréville" leads Millet to retain precision normande registered in "Norman dairy in Gréville". With "Norman dairy in Gréville", the motif thus retains lasting dignity.
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The Goose Girl at Gruchy
Conceived in 1855, "The Goose Girl at Gruchy" refuses the theatrical pose, a party specific to "The Goose Girl at Gruchy". At the National Museum of Wales, "The Goose Girl at Gruchy" leads Millet to retain the light that "The Goose Girl at Gruchy" attaches to the gesture. With "The Goose Girl at Gruchy", lived time replaces any easy anecdote.
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The cliffs of Gréville
Completed in 1871, "Les cliffs de Gréville" returned to its native Normandy, a party specific to "Les cliffs de Gréville". At Albright-Knox Art Gallery, "The Cliffs of Gréville" led Millet to retain the land as "The Cliffs of Gréville" subjects to the wind. With "The cliffs of Gréville", the composition gives a new gravity to everyday life.
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Rocky coast in Gréville
Painted in 1854, "Rocky Coast in Gréville" returns to his native Normandy, a party specific to "Rocky Coast in Gréville". At the Museum of Fine Arts in Leipzig, "Rocky Coast in Gréville" leads Millet to retain the land that "Rocky Coast in Gréville" Gréville" submits to the wind. With "Rocky Coast in Gréville", millet unites observation and rural memory.
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The Plain of Chailly with Harrow and Plow
Dated 1862, "The Plain of Chailly with Harrow and Plow" concentrates an ordinary scene, specific to "The Plain of Chailly with Harrow and Plow". At Osterreichische Galerie Belvedere, "The Plain of Chailly with Harrow and Plow "leads Millet to retain the weight that "The Plain of Chailly with Harrow and Plow" gives to the bodies and the ground. With "The Plain of Chailly with Harrow and Plow", its realism still leaves an element of mystery.
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Call of the cows
Produced around 1872, "Appel des vaches" tells the story of the economy of animals, a part specific to "Appel des vaches". At the Metropolitan Museum of Art, "Appel des vaches" led Millet to retain the Norman precision inscribed in "Appel des vaches". With "Cow Call", the motif thus retains lasting dignity.
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Woman with a rake
Designed in 1856, "Woman with a Rake" monumentalizes the agricultural gesture, a part specific to "Woman with a Rake". At the Metropolitan Museum of Art, "Woman with a Rake" led Millet to retain the rhythm that "Woman with a Rake" borrow from work. With "Woman with a Rake", the time lived replaces any easy anecdote.
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Picking beans
Completed in 1870, "La Cueillette des beans" monumentalized the agricultural gesture, a party specific to "La Cueillette des beans". At Dayton Art Institute, "La Cueillette des beans" led Millet to retain the rhythm that "La Cueillette des beans borrows from work. With "La Cueillette des beans", the composition gives a new gravity to everyday life.
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Apple Gatherers
Painted in 1852, "Apple Gatherers" concentrates an ordinary scene, a party specific to "Apple Gatherers". At Arnot Art Museum, "Apple Gatherers" led Millet to retain the weight that "Apple Gatherers" gave to bodies and the ground. With "Apple Gatherers", millet unites observation and rural memory.
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The Knitting Lesson
Dated 1869, "The Knitting Lesson" refuses theatrical pose, a party specific to "The Knitting Lesson". At the Saint-Louis Art Museum, "The Knitting Lesson" leads Millet to retain the light that "The Knitting Lesson" attaches to the gesture. With "The Knitting Lesson", his realism still leaves an element of mystery.
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Leconte de Lisle
Produced around 1840, "Leconte de Lisle" concentrates an ordinary scene, a part specific to "Leconte de Lisle". At the National Gallery of Art, "Leconte de Lisle" leads Millet to retain the weight that "Leconte de Lisle" gives to bodies and ground. With "Leconte de Lisle", the motif thus retains lasting dignity.
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Shepherdess seated
Designed in 1852, "Bergère assise" sets aside worldly pastoral care, a party specific to "Bergère assise". At the Minneapolis Institute of Art, "Bergère assise" led Millet to retain the slowness that "Bergère assise" gave to the guard. With "Bergère assise", lived time replaces any easy anecdote.
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Shepherdess sitting on a rock
Completed in 1856, "Shepherdess Sitting on a Rock" sets aside worldly pastoral care, a party specific to "Shepherdess Sitting on a Rock". At the Metropolitan Museum of Art, "Shepherdess Sitting on a Rock" led Millet to hold back the slowness that "Shepherdess" sitting on a rock gives the guard. With "Shepherdess Sitting on a Rock", the composition gives a new gravity to everyday life.
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The Little Shepherdess
Painted in 1870, "The Little Shepherdess" sets aside worldly pastoral care, a party specific to "The Little Shepherdess". At the Art Institute of Chicago, "The Little Shepherdess" led Millet to retain the slowness of "The Little Shepherdess" give to the guard. With "The Little Shepherdess", millet unites observation and rural memory.
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The Wood Sawyers
Dated 1851, "The Wood Sawyers" measures the effort against wood, a party specific to "The Wood Sawyers". At Victoria and Albert Museum, "The Wood Sawyers" led Millet to retain the tools that "The Wood Sawyers" placed at the forefront. With "The Wood Sawyers", his realism still leaves an element of mystery.
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The wait
Produced around 1857, "L'Attente" concentrates an ordinary scene, a part specific to "L'Attente". At the Nelson-Atkins Art Museum, "L'Attente" leads Millet to retain the weight that "L'Attente" gives to bodies and the ground. With "L’Attente", the motif thus retains lasting dignity.
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Maternal precaution
Designed in 1857, "Maternal Precaution" concentrates an ordinary scene, a part specific to "Maternal Precaution". In the Paintings Department of the Louvre Museum, "Maternal Precaution" leads Millet to retain the weight that "La Maternal precaution gives to bodies and the ground. With "Maternal Precaution", the time lived replaces any easy anecdote.
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The Laundry Machine
Completed in 1862, "La Lessiveuse" concentrates an ordinary scene, a part specific to "La Lessiveuse". In the Paintings Department of the Louvre Museum, "La Lessiveuse" leads Millet to retain the weight that "La Lessiveuse" gives to bodies and on the ground. With "La Lasseuse", the composition gives new gravity to everyday life.
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The Shooting Stars
Painted in 1848, "The Shooting Stars" concentrates an ordinary scene, a party specific to "The Shooting Stars". At the National Museum of Wales, "The Shooting Stars" led Millet to retain the weight that "The Shooting Stars" gave to the body and ground. With "The Shooting Stars", millet unites observation and rural memory.
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Sheltered from the storm
Dated 1846, "A l'abri de l'orage" concentrates an ordinary scene, a party specific to "A l'abri de l'orage". At the Metropolitan Museum of Art, "A l'abri de l'orage" led Millet to retain the weight that "A l'abri de l'orage" gave to bodies and on the ground. With "A l'abri de l'orage", its realism still leaves an element of mystery.
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Gust of Wind
Produced around 1872, "Gust of Wind" concentrates an ordinary scene, a part specific to "Gust of Wind". At the National Museum of Wales, "Gust of Wind" leads Millet to retain the weight that "Gust of Wind" gives to the bodies and the ground. With "Gust of Wind", the motif thus retains lasting dignity.
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Summer or Ceres
Designed in 1864, "L'Été ou Cérès" concentrates an ordinary scene, a party specific to "L'Été ou Cérès". At the Bordeaux Museum of Fine Arts, "L'Été ou Cérès" leads Millet to retain the weight that "L'Été ou Cérès" gives to bodies and the ground. With "Summer or Ceres", the time lived replaces any easy anecdote.
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Winter (Frozen Cupid)
Completed in 1864, "Winter (Frozen Cupid)" concentrates an ordinary scene, a party specific to "Winter (Frozen Cupid)". At Yamanashi Prefectural Art Museum, "Winter (Frozen Cupid)" leads Millet to retain the weight that "Winter (Frozen)" Cupid) gives to bodies and the ground. With "Winter (Frozen Cupid)", the composition gives new gravity to everyday life.
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Nightbird hunting
Painted in 1874, "Nightbird Hunt" concentrates an ordinary scene, a part specific to "Nightbird Hunt". At The William L. Elkins Collection, 1924, "Nightbird Hunt" led Millet to retain the weight that " Nightbird hunting" gives to bodies and soil. With "Nightbird Hunting", millet unites observation and rural memory.
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Sheep shearing
Dated 1852, "Monton de Mouton" sets aside worldly pastoral care, a party specific to "Mouton Mowing". At the Museum of Fine Arts in Boston, "Mouton Mowing" leads Millet to remember the slowness that "Mouton Mowing" gives to the guard. With " Sheep Mowing", its realism still leaves an element of mystery.
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Portrait of a man
Produced around 1845, "Portrait of a Man" reveals Millet portraitist, a party specific to "Portrait of a Man". At National Gallery of Art, "Portrait of a Man" led Millet to retain the attitude that "Portrait of a Man" preferred to accessories. With "Portrait of a Man", the motif thus retains lasting dignity.
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The Whisper
Designed in 1846, "The Whisper" concentrates an ordinary scene, a part specific to "The Whisper". At National Gallery, "The Whisper" leads Millet to retain the weight that "The Whisper" gives to bodies and the ground. With "The Whisper", lived time replaces any easy anecdote.
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The Bather
Completed in 1846, "The Bather" concentrates an ordinary scene, a party specific to "The Bather". At Yale University Art Gallery, "The Bather" led Millet to retain the weight that "The Bather" gave to bodies and the ground. With "The Bather", the composition gives everyday life a new gravity.
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The Bather
Painted in 1846, "La Baigneuse" concentrates an ordinary scene, a part specific to "La Baigneuse". At National Gallery of Art, "La Baigneuse" leads Millet to retain the weight that "La Baigneuse" gives to bodies and the ground. With "La Baigneuse", millet unites observation and rural memory.
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Diana rest
Dated 1845, "Diana rest" concentrates an ordinary scene, a party specific to "Diana rest". At the Los Angeles County Museum of Art, "Diana rest" leads Millet to retain the weight that "Diana rest" gives to bodies and the ground. With "Diana rest", his realism still leaves an element of mystery.
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Portrait of Paul François Collot, novelty dealer
Produced around 1850, "Portrait of Paul François Collot, merchant of novelties" tells the story of the economy of animals, a part specific to "Portrait of Paul François Collot merchant of novelties". At Musée d’Orsay, "Portrait of Paul François Collot, merchant of novelties". At Musée d’Orsay, "Portrait of Paul François Collot merchant of novelties" leads Millet to retain the Norman precision inscribed in "Portrait of Paul François Collot merchant of novelties". With "Portrait of Paul François Collot merchant of novelties", the motif thus retains a lasting dignity.
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Portrait of Javain, mayor of Cherbourg from 1830 to 1833)
Conceived in 1841, "Portrait of Javain, mayor of Cherbourg from 1830 to 1833)" reveals Millet portraitist, party specific to "Portrait of Javain, mayor of Cherbourg from 1830 to 1833)". At the Thomas-Henry Museum, "Portrait of Javain, mayor of Cherbourg from 1830 to 1833)". At the Thomas-Henry Museum, "Portrait of Javain, mayor of Cherbourg from 1830 to 1833) Millet led to retain the attitude that "Portrait of Javain, mayor of Cherbourg from 1830 to 1833)" preferred to accessories. With "Portrait of Javain, mayor of Cherbourg from 1830 to 1833)", lived time replaces everything easy anecdote.
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Pauline Ono undressed
Completed in 1843, "Pauline Ono in negligee" reveals Millet portraitist, a party specific to "Pauline Ono in negligee". At the Thomas-Henry Museum, "Pauline Ono in negligee" leads Millet to retain the attitude that "Pauline Ono in negligee" prefers accessories. With "Pauline Ono in a negligee", the composition gives a new gravity to everyday life.
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Mr Martin
Painted in 1840, "Monsieur Martin" reveals Millet portraitist, a party specific to "Monsieur Martin". At the Cleveland Museum of Art, "Monsieur Martin" led Millet to retain the attitude that "Monsieur Martin" preferred to accessories. With " Monsieur Martin", millet unites observation and rural memory.
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Mr. Frigot
Dated 1841, "Monsieur Frigot" reveals Millet portraitist, a party specific to "Monsieur Frigot". At the National Gallery of Finland, "Monsieur Frigot" leads Millet to retain the attitude that "Monsieur Frigot" prefers to accessories. With "Monsieur Frigot", its realism still leaves an element of mystery.
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Gauthier
Made around 1865, "Gauthier" reveals Millet portraitist, a party specific to "Gauthier". At the Palais des Beaux-Arts in Lille, "Gauthier" led Millet to retain the attitude that "Gauthier" preferred to accessories. With "Gauthier", the motif thus retains lasting dignity.
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Madame Valmont
Designed in 1841, "Madame Valmont" reveals Millet portraitist, a party specific to "Madame Valmont". At the Saint-Louis Art Museum, "Madame Valmont" leads Millet to retain the attitude that "Madame Valmont" prefers to accessories. With " Madame Valmont", lived time replaces any easy anecdote.
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Portrait of a naval officer
Completed in 1850, "Portrait of a Naval Officer" reveals Millet portraitist, a party specific to "Portrait of a Naval Officer". At the Museum of Fine Arts in Lyon, "Portrait of a Naval Officer" leads Millet to retain his attitude which "Portrait of a Naval Officer" prefers to accessories. With "Portrait of a Naval Officer", the composition gives a new gravity to everyday life.
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The winemaker
Painted in 1869, "Le vigneron" concentrates an ordinary scene, a part specific to "Le vigneron". At Collection Mesdag, "Le vigneron" leads Millet to retain the weight that "Le vigneron" gives to the bodies and the soil. With "Le vigneron", millet unites observation and rural memory.
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The return of the fields
Dated 1846, "The Return of the Fields" monumentalizes the agricultural gesture, a party specific to "The Return of the Fields". In Cleveland Museum of Art, "The Return of the Fields" led Millet to retain the rhythm that "The Return of the Fields" borrows from work. With "The Return of the Fields", its realism still leaves an element of mystery.
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Fisherman's Wife
Produced around 1848, "Fisherman's Wife" concentrates an ordinary scene, a party specific to "Fisherman's Wife". At the Hendrik Willem Mesdag Private Collection, "Fisherman's Wife" led Millet to retain the weight that "Fisherman's Wife" gave on the bodies and on the ground. With "Fisherman's Wife", the motif thus retains lasting dignity.
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Hay balers
Designed in 1837, "Les Botteleurs de hay" monumentalizes the agricultural gesture, a party specific to "Les Botteleurs de hay". In the Painting Department of the Louvre Museum, "Les Botteleurs de hay" leads Millet to retain the rhythm that "Les Botteleurs de hay borrows from work. With "Les Botteleurs de hay", the time lived replaces any easy anecdote.
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Hagar and Ishmael
Completed in 1848, "Hagar and Ishmael" concentrates an ordinary scene, a party specific to "Hagar and Ishmael". At the Private collection Hendrik Willem Mesdag, "Hagar and Ishmael" led Millet to retain the weight that "Hagar and Ishmael" gave to bodies and the ground. With "Hagar and Ishmael", the composition gives new gravity to everyday life.
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The Fagot Collector
Painted in 1867, "The Fagot Collector" measures the effort against wood, a party specific to "The Fagot Collector". At the Hiroshima Art Museum, "The Fagot Collector" led Millet to retain the tools that "The Fagot Collector" place in the foreground. With "Le Ramasseur de fagots", millet unites observation and rural memory.
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The Reaper
Dated 1866, "Le Moissonneur" monumentalizes the agricultural gesture, a party specific to "Le Moissonneur". At the Hiroshima Art Museum, "Le Moissonneur" leads Millet to retain the rhythm that "Le Moissonneur" borrows from work. With "The Harvester", his realism still leaves an element of mystery.
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Bringing home the calf born in the fields
Produced around 1860, "Bringing home the calf born in the fields" tells the story of the economics of animals, a game specific to "Bringing home the calf born in the fields". At Princeton University Museum of Art, "Bringing Home the Born Calf". in the fields" leads Millet to retain the Norman precision inscribed in "Bringing home the calf born in the fields". With "Bringing home the calf born in the fields", the motif thus retains lasting dignity.
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The two diggers
Designed in 1856, "The Two Diggers" concentrates an ordinary scene, a part specific to "The Two Diggers". At the Tweed Museum of Art, "The Two Diggers" led Millet to retain the weight that "The Two Diggers" gave to the bodies and the ground. With "The Two Diggers", lived time replaces any easy anecdote.
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Young girl tending her sheep
Completed in 1861, "Young Girl Keeping Her Sheep" sets aside worldly pastoral care, a party specific to "Young Girl Keeping Her Sheep". At Clark Art Institute, "Young Girl Keeping Her Sheep" led Millet to hold back the slowness that "Young girl tending her sheep gives to the guard. With "Young girl tending her sheep", the composition gives new gravity to everyday life.
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Shepherds Resting
Painted on an unspecified date, "Shepherds Resting" dismisses worldly pastoral care, a party specific to "Shepherds Resting". At Harvard Art Museums, "Shepherds Resting" leads Millet to remember the slowness that "Shepherds Resting" gives to the guard. With "Shepherds Resting", millet unites observation and rural memory.
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The Normandy Milkmaid
Dated 1848, "The Normandy Milkmaid" tells the story of the economy of animals, a part specific to "The Normandy Milkmaid". At the Princeton University Museum of Art, "The Normandy Milkmaid" leads Millet to retain the Norman precision inscribed in "The Normandy Milkmaid". With "The Normandy Milkmaid", his realism still leaves an element of mystery.
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Peasant with a wheelbarrow
Produced around 1848, "Peasant with a Wheelbarrow" concentrates an ordinary scene, a part specific to "Peasant with a Wheelbarrow". At the Indianapolis Museum of Art, "Peasant with a Wheelbarrow" leads Millet to retain the weight that "Peasant with a Wheelbarrow" wheelbarrow gives to bodies and soil. With "Peasant with a wheelbarrow", the pattern thus retains lasting dignity.
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Shepherd and Flock at the Edge of the Forest, Evening
Conceived in 1853, "Shepherd and Flock at the Edge of the Forest, Evening" sets aside worldly pastoral care, a party specific to "Shepherd and Flock at the Edge of the Forest, Evening". At the Museum of Fine Arts, Boston, "Shepherd and Flock at the Edge of the Forest, Evening" leads Millet to retain the slowness that "Shepherd and Flock at the Edge of the Forest, Evening" gives to the guard. With "Shepherd and Flock at the Edge of the Forest, Evening", lived time replaces everything easy anecdote.
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Forest with Shepherdess and Sheep
Completed on an unspecified date, "Forest with Shepherdess and Sheep" excludes worldly pastoral care, a party specific to "Forest with Shepherdess and Sheep". At the Museum of Fine Arts, Boston, "Forest with Shepherdess and Sheep" led Millet to remember the slowness that "Forest with Shepherdess and Sheep" gives to the guard. With "Forest with Shepherdess and Sheep", the composition gives new gravity to everyday life.
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Shepherdess Seated in the Shade
Painted in 1872, "Shepherdess Seated in the Shade" sets aside worldly pastoral care, a party specific to "Shepherdess Seated in the Shade". At the Museum of Fine Arts in Boston, "Shepherdess Seated in the Shade" led Millet to hold back slowness that "Shepherdess Seated in the Shade" gives to the guard. With "Shepherdess Seated in the Shade", millet unites observation and rural memory.
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Shepherdess Leaning on her Staff
Dated 1852, "Shepherdess Leaning on her Staff" dismisses worldly pastoral care, a party specific to "Shepherdess Leaning on her Staff". At the Museum of Fine Arts in Boston, "Shepherdess Leaning on her Staff" led Millet to hold back slowness that "Shepherdess Leaning on her Staff" gives to the guard. With "Shepherdess Leaning on her Staff", its realism still leaves an element of mystery.
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Hameau Cousin in Gréville
Created around 1862, "Hameau Cousin in Gréville" returned to his native Normandy, a party specific to "Hameau Cousin in Gréville". At the Museum of Fine Arts in Reims, "Hameau Cousin in Gréville" led Millet to retain the land that "Hameau Cousin in Gréville" submits to the wind. With "Hameau Cousin in Gréville", the motif thus retains lasting dignity.
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The Tower of Chailly near Barbizon
Conceived in 1873, "The Tower of Chailly near Barbizon" concentrates an ordinary scene, a party specific to "The Tower of Chailly near Barbizon". At Private collection Hendrik Willem Mesdag, "The Tower of Chailly near Barbizon" leads Millet to retain the weight that "The Tower of Chailly near Barbizon" gives to the bodies and the ground. With "The Tower of Chailly near Barbizon", lived time replaces any easy anecdote.
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Our Lady of Loreto
Completed in 1851, "Notre-Dame de Lorette" concentrates an ordinary scene, a party specific to "Notre-Dame de Lorette". At the Museum of Fine Arts in Dijon, "Notre-Dame de Lorette" led Millet to retain the weight that "Notre-Dame de Lorette" had gives to bodies and the ground. With "Notre-Dame de Lorette", the composition gives new gravity to everyday life.
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A piece of the village of Gréville
Painted in 1866, "Un Bout du village de Gréville" returns to his native Normandy, a party specific to "Un Bout du village de Gréville". At the Museum of Fine Arts in Boston, "Un Bout du village de Gréville" led Millet to retain the land that "Un Bout du village de Gréville" submits to the wind. With "Un Bout du village de Gréville", millet unites observation and rural memory.
See the workThe earth at eye level
Millet did not embellish the work of the fields: he gave it weight, time and monumental dignity. His figures continue to advance, sow and watch long after their day is over.
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