See also:

• JEAN

JEAN See also:

• FRANCOIS (1558-1614)

FRANCOIS See also:

• MILLET (Fr. millet; Ital. miglietto, diminutive of miglio= Lat. mille, a thousand, in allusion to its fertility)
• MILLET (or MILE), JEAN FRANCOIS (c. 1642–1679)
• MILLET, FRANCIS DAVIS (1846- )
• JEAN FRANCOIS MILLET (1814–1875)

MILLET (1814–1875)  , See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French painter, who came c£ a See also:

• PEASANT (O. Fr. paysant, Mod. paysan; Lat. pagensis, belonging to the pagus or country; cf. " pagan ")

peasant See also:

• FAMILY

family, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born on the 4th of See also:

• OCTOBER

October 1814 in the See also:

• HAMLET

hamlet of Gruchy, near Greville (La See also:

• MANCHE

Manche), in the See also:

• WILD, JONATHAN (c. 1682-1725)

wild and picturesque See also:

• DISTRICT

district called La See also:

• HAGUE, THE (in Dutch, 's Gravenhage, or, abbreviated, den Haag; in Fr. La Haye; and in Late Lat. Haga Comitis)

Hague . His boyhood was passed working in his See also:

• FATHER

father's See also:

• FIELDS, JAMES THOMAS (1817-1881)

fields, but the sight of the engravings in an old illustrated See also:

• BIBLE
• BIBLE, ENGLISH

Bible set him See also:

• DRAWING

drawing, and thenceforth, whilst the others slept, the daily See also:

• HOUR

hour of See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest was spent by See also:

• MILLET (Fr. millet; Ital. miglietto, diminutive of miglio= Lat. mille, a thousand, in allusion to its fertility)
• MILLET (or MILE), JEAN FRANCOIS (c. 1642–1679)
• MILLET, FRANCIS DAVIS (1846- )
• MILLET, JEAN FRANCOIS (1814–1875)

Millet in trying to render the See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar scenes around him . From the See also:

• VILLAGE

village See also:

• PRIEST (Ger. Priester, Fr. pretre)

priest the lad learnt to read the Bible and See also:

• VIRGIL (PUBLIUS VERGILIUS MARC)
• VIRGIL, POLYDORE (c. 1470-1555)

Virgil in Latin, and acquired an See also:

• INTEREST

interest in one or two other See also:

• WORKS

works of a high class which accompanied him through See also:

• LIFE

life; he did not, however, attract See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention so much by his acquirements as by the See also:

• STAMP (from " to stamp," to strike or tread heavily, hence to impress, O. Eng. stempen, Du. stampen, Ger. stampfen, whence, O. Fr. estamper, mod. etamper)

stamp of his mind . The whole family seems, indeed, to have worn a See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character of austerity and dignity, and when Millet's father finally decided to test the vocation of his son as an artist, it was with a gravity and authority which recalls the patriarchal households of Calvinist See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France . Two drawings were prepared and placed before a painter at See also:

• CHERBOURG

Cherbourg named Mouchel, who at once recognized the boy's gifts, and accepted him as a See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil; but shortly after (1835) Millet's father died, and the eldest son, with heroic devotion, took his See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place at See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home, nor did he return to his See also:

• WORK

work until the pressing calls from without were solemnly enforced by the wishes of his own family . He accordingly went back to Cherbourg, but after a See also:

• SHORT, FRANCIS JOB (1857– )

short See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time spent there with another See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master (See also:

• LANGLOIS, HIPPOLYTE (1839— )

Langlois) started with many misgivings for See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris . The See also:

• COUNCIL (Lat. concilium, from cum, together, and the root cal, to call)

council-See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general of the See also:

• DEPARTMENT (Fr. departement, from departir, to separate into parts)

department had granted him a sum of 600 francs, and the See also:

• TOWN

town council promised an See also:

• ANNUAL

annual See also:

• PENSION (Lat. pensio, a payment, from pendere, to weigh, to pay)

pension of 400, but in spite of friendly help and introductions Millet went through See also:

• GREAT

great difficulties . The See also:

• SYSTEM

system of the Ecole See also:

• DES

des See also:

• BEAUX, CECILIA (1863– )

Beaux Arts was hateful to him, and it was not until after much hesitation that he decided to enter an See also:

• OFFICIAL (Late Lat. QJicialis, for class. Lat. apparitor, from officium, office, duty)

official studio—that of See also:

• DELAROCHE, HIPPOLYTE

Delaroche . The master was certainly puzzled by his pupil; he saw his ability, and, when Millet in his poverty could not longer pay the monthly fees, arranged for his See also:

• FREE

free See also:

• ADMISSION

admission to the studio, but he tried in vain to make him take the approved direction, and lessons ended with " Eh, bien, allez a votre See also:

• GUISE
• GUISE, HOUSE OF

guise, See also:

• VOUS

vous etes si nouveau pour moi que je ne veux rien vous dire." At last, when the competition for the See also:

• GRAND

Grand Prix came on, Delaroche gave Millet to understand that he intended to secure the nomination of another, and thereupon Millet withdrew himself, and with his friend Marolle started in a little studio in the See also:

• RUE (Fr. rue, Lat. ruta, from Gr. pur)

Rue de 1'Est . He had renounced the beaten track, but he continued to study hard whilst he sought to procure See also:

• BREAD

bread by See also:

• PAINTING

painting portraits at 10 or 15 francs apiece and producing small " pastiches" of See also:

• WATTEAU, ANTOINE (1684-1721)

Watteau and See also:

• BOUCHER, FRANCOIS (1703-1770)
• BOUCHER, JONATHAN (1738-1804)

Boucher . In 1840 Millet went back to Greville, where he painted " Sailors Mending a See also:

• SAIL

Sail " and a few other pictures—reminiscences of Cherbourg life . His first success was obtained in 1844, when his " Milkwoman and " See also:

• LESSON (through Fr. lecon from Lat. lectio, reading; legere, to read)

Lesson in See also:

• RIDING

Riding " (See also:

• PASTEL

pastel) attracted See also:

• NOTICE

notice at the See also:

• SALON

Salon, and friendly artists presented themselves at his lodgings only to learn that his wife had just died, and that he himself had disappeared .

Millet was at Cherbourg; there he remarried, but having amassed a few See also:

• HUNDRED

hundred francs he went back to Paris and presented his " St See also:

• JEROME, JEROME KLAPKA (1859– )
• JEROME, ST (HIERONYMUS, in full EUSEBIUS SOPHRONIUS HIERONYMUS) (c. 340–420)

Jerome " at the Salon of 1845 . This picture was rejected and exists no longer, for Millet, short of See also:

• CANVAS

canvas, painted over it " See also:

• OEDIPUS (OiSiirovs, O16tir63i7s, Wines, from Gr. ot&eiv swell, and gobs foot, i.e. " the swollen-footed ")

Oedipus Unbound," a work which during the following See also:

• YEAR

year was the See also:

• OBJECT

object of violent See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

criticism . He was, however, no longer alone; See also:

• DIAZ, NARCISSE VIRGILIO (18(38-1876)
• DIAZ, PORFIRIO (183o– )

Diaz, See also:

• EUGENE

Eugene See also:

• TOURNEUX, JEAN MAURICE (1849— )

Tourneux, See also:

• ROUSSEAU, JACQUES (1633-1693)
• ROUSSEAU, JEAN BAPTISTE (1671-1741)
• ROUSSEAU, JEAN JACQUES (1712-1778)
• ROUSSEAU, PIERRE ETIENNE THEODORE (1812–1867); French painter of the Barbizon school, was born in Paris on the 15th of April 1812, of a bourgeois family which included one or two artists. At first he received a business training, but soon displayed aptitu

Rousseau, and other men of See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note supported him by their confidence and friendship, and he had by his See also:

• SIDE
• SIDE (mod. Eski Adalia)

side the brave See also:

• CATHERINE
• CATHERINE, SAINT

Catherine Lemaire, his second wife, a woman who See also:

• BORE

bore poverty with dignity and gave courage to her See also:

• HUSBAND

husband through the cruel trials in which he penetrated by a terrible See also:

• PERSONAL

personal experience the See also:

• BITTER, KARL THEODORE FRANCIS (1867– )

bitter secrets of the very poor . To this date belong Millet's " See also:

• GOLDEN

Golden See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

Age," " See also:

• BIRD

Bird Nesters," " See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

Young Girl and See also:

• LAMB (a word common to Teutonic languages; cf. Ger. Lamm)
• LAMB, CHARLES (1775–1834)

Lamb," and " Bathers"; but to the " Bathers " (Louvre) succeeded " The See also:

• MOTHER

Mother Asking See also:

• ALMS

Alms," " The Workman's See also:

• MONDAY (in O.E. Monandaeg, the moon's day, a translation of the Late Lat. Lunae dies, from which the French lundi is taken)

Monday," and " The Winnower." This last work, exhibited in 1848, obtained conspicuous success, but did not sell till Ledru See also:

• ROLLIN, CHARLES (1661-1741)

Rollin, informed of the painter's dire See also:

• DISTRESS

distress, gave him Soo francs for it, and accompanied the See also:

• PURCHASE

purchase with a See also:

• COMMISSION (from Lat. commissio, committere)

commission, the See also:

• MONEY

money for which enabled Millet to leave Paris for See also:

• BARBIZON

Barbizon, a village on the skirts of the See also:

• FOREST

forest of See also:

• FONTAINEBLEAU

Fontainebleau . There he settled in a three-roomed cottage for the rest of his life—twenty-seven years, in which he wrought out the perfect See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story of that peasant life of which he alone has given a " See also:

• COMPLETE

complete impression." Jules See also:

• BRETON, BRITTON
• BRETON, JULES ADOLPHE

Breton has coloured the days of toil with sentiment; others, like See also:

• COURBET, GUSTAVE (1819-1877)

Courbet, whose See also:

• ECCENTRIC (from Gr. F,c, out of, and Kivrpov, centre)

eccentric " Funeral at Ornans " attracted more notice at the Salon of 1850 than Millet's " Sowers and Binders," have treated similar subjects as a vehicle for protest against social misery; Millet alone, a peasant and a miserable one himself, saw true, neither softening nor exaggerating what he saw . In a curious See also:

• LETTER (through Fr. lettre from Lat. littera or litera, letter of the alphabet; the origin of the Latin word is obscure; it has probably no connexion with the root of linere, to smear, i.e. with wax, for an inscription with a stilus)

letter written to M . Sensier at this date (1850) Millet expressed his resolve to break once and for all with mythological and undraped subjects, and the names of the See also:

• PRINCIPAL

principal works painted subsequently will Show how steadfastly this See also:

• RESOLUTION

resolution was kept . In 1852 he produced " Girls Sewing," " See also:

• MAN
• MAN, ISLE OF (anc. Mona)

Man Spreading Manure "; 1853, " The Reapers "; 1854, " See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

Church at Greville "; 1855—the year of the See also:

• INTERNATIONAL, THE

International See also:

• EXHIBITION

Exhibition, at which he received a See also:

• MEDAL (Fr. medaille, from Lat. metallum)

medal of second class—" Peasant Grafting a See also:

• TREE (0. Eng. treo, treow, cf. Dan. tree, Swed. Odd, tree, trd, timber; allied forms are found in Russ. drevo, Gr. opus, oak, and 36pv, spear, Welsh derw, Irish darog, oak, and Skr. dare, wood)
• TREE, SIR HERBERT BEERBOHM (1853- )

Tree "; 1857, " The Gleaners "; 1859, " The See also:

• ANGELUS

Angelus," " The Woodcutter and See also:

• DEATH

Death "; 1860, " See also:

• SHEEP
• SHEEP (from the Anglo-Saxon sceap, a word common in various forms to Teutonic languages; e.g. the German Schaf)

Sheep Shearing "; 1861, " Woman Shearing Sheep," " Woman Feeding See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

Child "; 1862, " See also:

• POTATO
• POTATO (Solanum tuberosum)

Potato Planters," " See also:

• WINTER, JOHN STRANGE
• WINTER, PETER (c. 1755-1825)

Winter and the Crows "; '1863, " Man with See also:

• HOE (through Fr. houe from O.H.G. houwd, mod. Ger. Haue; the root is seen in " hew," to cut, cleave; the word must be distinguished from " hoe," promontory, tongue of land, seen in place names, e.g. Morthoe, Luton Hoo, the Hoe at Plymouth, &c. ; this is t
• HOE, RICHARD MARCH (1812-1886)

Hoe," " Woman See also:

• CARDING

Carding "; 1864, " Shepherds and See also:

• FLOCK

Flock, Peasants Bringing Home a See also:

• CALF
• CALF, THE GOLDEN

Calf Born in the Fields "; 1869, " See also:

• KNITTING (from O.E. cnyttan, to knit; cf. Ger. Knutten; the root is seen in " knot ")

Knitting Lesson "; 1870, " See also:

• BUTTER (Lat. butyrum, Gr. 0obrvpov, apparently connected with $ous, cow, and rvpbs, cheese, but, according to the New English Dictionary, perhaps of Scythian origin)

Butter-making; 1871, " See also:

• NOVEMBER (Lat. novem, nine)

November—recollection of Gruchy." Any one of these works will show how great an See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence Millet's previous practice in the nude had upon his See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style . The dresses worn by his figures are not clothes, but drapery through which the forms and movements of the See also:

• BODY

body are strongly See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt, andtheir See also:

• CONTOUR

contour shows a grand breadth of See also:

• LINE

line which strikes the See also:

• EYE
• EYE (O. Eng. edge, Ger. Auge; derived from an Indo-European root also seen in Lat. oc-ulus, the organ of vision (q.v.)

eye at once . Something of the imposing unity of his work was also, no doubt, due to an extraordinary See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power of memory, which enabled Millet to paint (like See also:

• HORACE [QuINTus HORATIUS FLACCUS] (65-8 B.C.)

Horace See also:

• VERNET

Vernet) without a See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model; he could recall with precision the smallest details of attitudes or gestures which he proposed to represent . Thus he could See also:

• COUNT (Lat. comes, gen. comitis, Fr. comte, Ital. conte, Span. conde)

count on presenting free from afterthoughts the vivid impressions which he had first received, and Millet's nature was such that the impressions which he received were always of a serious and often of a See also:

• NOBLE, SIR ANDREW (1832- )

noble See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order, to which the character of his See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution responded so perfectly that even a " Washerwoman at her Tub " will show the grand See also:

• ACTION

action of a See also:

• MEDEA (Gr. Mi/Seta)

Medea . The drawing of this subject is reproduced in Souvenirs de Barbizon, a pamphlet in which M .

Piedagnel has recorded a visit paid to Millet in 1864 . His circumstances were then less evil, after struggles as severe as those endured in Paris . A See also:

• CONTRACT
• CONTRACT (Lat. contract us, from contrahere, to draw together, to bind)

contract by which he See also:

• BOUND, or BOUNDARY (from O. Fr. bonde, Med. Lat. bodena or butina, a frontier line)

bound himself in 186o to give up all his work for three years had placed him in See also:

• POSSESSION
• POSSESSION (Lat. possessio, possidere, to possess)

possession of r000 francs a See also:

• MONTH
• MONTH (a common Teutonic word, cf. Ger. Mond, Du. maand, Dan. maaned, &c., and cognate with Lat. mensis, Gr. µi7v, &c., in other branches of the Indo-Germanic family; all ultimately from the root seen in the word for the moon in nearly all those languages

month . His fame extended, and at the exhibition of 1867 he received a medal of the first class, and the ribbon of the See also:

• LEGION (Lat. legio)

Legion of See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

Honour, but he was at the same moment deeply shaken by the death of his faithful friend Rousseau . Though he rallied for a time he never completely recovered his See also:

• HEALTH

health, and on the loth of See also:

• JANUARY

January 1875 he died . He was buried by his friend's side in the See also:

• CHURCHYARD
• CHURCHYARD, THOMAS (c. 152o-16o4)

churchyard of Chailly . His pictures, like those of the rest of the Barbizon school, have since greatly increased in value . See the See also:

• ARTICLE (from Lat. articulus, a joint)

article BARBIZON; also A . Sensier, See also:

• VIE

Vie et oeuvre de J . F . Millet (1874); Piedagnel, Souvenirs de Barbizon, &c . (1876) ; D .

C . See also:

• THOMSON, JAMES (1822-1892)
• THOMSON, JAMES (1834-1882)
• THOMSON, JAMES (r700-1748)
• THOMSON, JOHN (1778-184o)
• THOMSON, JOSEPH (1858-1895)
• THOMSON, SIR CHARLES WYVILLE (1830-1882)
• THOMSON, THOMAS (1773-1852)
• THOMSON, WILLIAM (1819-189o)

Thomson, The Barbizon School (1891) ; See also:

• RICHARD
• RICHARD (d. 1184)
• RICHARD, FRANCOIS MARIE BENJAMIN (18,9-1908)
• RICHARD, HENRY (1812-1888)
• RICHARD, ST

Richard Muther, J . F . Millet (1905) ; Gensel, Millet and Rousseau (1902) . (E . F . S .