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Jean-François Millet (French pronunciation: [ʒɑ̃ fʁɑ̃swa milɛ]; 4 October 1814 – 20 January 1875) was a French artist and one of the founders of the Barbizon school in rural France. Millet is noted for his paintings of peasant farmers and can be categorized as part of the Realism art movement .
The Angelus (French: L'Angélus) is an oil painting by French painter Jean-François Millet, completed between 1857 and 1859.. The painting depicts two peasants bowing in a field over a basket of potatoes to say a prayer, the Angelus, that together with the ringing of the bell from the church on the horizon marks the end of a day's work.
[3] The Man with a Hoe was the last painting of Millet's so-called "radical" era, which began with The Sower (1850). [ 3 ] After the initial shock of the new, Man with a Hoe lived a quiet life until the 1880s when it re-emerged as a star of three major French exhibitions including the art show at the 1889 World's Fair in Paris.
Yale University Art Gallery, New Heaven Starry Night is an oil-on-canvas painting by Jean-François Millet completed in 1850 and retouched in 1865. One of Millet's few paintings that is exclusively a landscape, it is in Yale University Art Gallery , in New Haven .
His son, also named Jean François Millet (1666–1723), and also called Francisque, was born in Paris, and was made a member of the Academy of Painting in 1709.He consulted Watteau and other followers of the fête galante school when he wanted figures for his landscapes.
The Walters Art Museum city=Baltimore The Potato Harvest is an oil-on-canvas painting by the French artist Jean-François Millet , created in 1855. It is held at The Walters Art Museum , in Baltimore .
Millet's The Gleaners was preceded by a vertical painting of the image in 1854 and an etching in 1855. Millet unveiled The Gleaners at the Salon in 1857. It immediately drew negative criticism from the middle and upper classes, who viewed the topic with suspicion: one art critic, speaking for other Parisians, perceived in it an alarming intimation of "the scaffolds of 1793."
In a letter addressed to the art critic Théophile Thoré-Burger, who saw the canvas exhibited in the Martinet Gallery, Millet explained: "I would like [in this painting] to imagine a brood of birds being fed by their mother. Man works to feed these beings”. [2] Millet sketched his models on the spot, but went back to his studio to paint.