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France embraces Millet: the intertwined fates of The Gleaners and The Angelus.
From:
The Art Bulletin
| Date:
December 1, 2003| Author:
Fratello, Bradley
| COPYRIGHT 2003 College Art Association. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan. All inquiries regarding rights should be directed to the Gale Group.Copyright information
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In the summer of 1857, the year that Jean-Francois Millet (1814-1875) debuted The Gleaners (Fig. 1) at the Salon to a hostile, conservative response, he began work on the only other of his canvases that would come to fully equal its celebrity: The Angelus (Fig. 2). These images subsequently became global emblems of rural work and rustic piety, but their iconic status was anything but foreseeable when they left the artist's studio. Millet haggled with an Englishman identified only a...
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