COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1980.270
amicoid
CMA_.1980.270
AMICA ID
false
AMICA Library Year:
2001
aly
2001
AMICA Library Year
false
Object Type:
Paintings
oty
Paintings
Object Type
false
Creator Name:
Millet, Jean-François
crn
Millet, Jean-François
Creator Name
false
Creator Nationality:
European; French
crc
European; French
Creator Nationality
false
Creator Role:
artist
crr
artist
Creator Role
false
Creator Dates/Places:
1814 - 1875
cdt
1814 - 1875
Creator Dates/Places
false
Biography:
Son of a wealthy farmer, Jean-François Millet studied with a portrait painter from Cherbourg, Bon du Mouchel (1807-1846), himself a student of David (q.v.). Mouchel required his young apprentice to copy paintings in the museum in Cherbourg, where Millet had been sent to enter the studio of Lucien-Théophile Langlois (1803-1845), a former student of Gros (q.v.). Millet received a stipend from the city to move to Paris in 1837, enrolling in the École des Beaux-Arts in the studio of Delaroche (q.v.), where he met Couture (q.v.). Within two years he had left Delaroche, and his stipend was withdrawn. To earn a living, he executed pastels and small paintings in the style of Jean Antoine Watteau (1684-1729) and François Boucher (1703-1770). In 1839 the first painting that Millet sent to the Salon, Saint Anne Instructing the Virgin, was refused. The following year one portrait was accepted at the Salon, and Millet spent the winter in Cherbourg where he could make a living painting portraits. After his marriage to Pauline-Virginie Ono, he returned to Paris, painting various subjects but finding little success. He met Théodore Rousseau (q.v.) and Diaz de la Peña (q.v.) and was introduced to Durand-Ruel, who purchased some of his works, at that point mainly pastoral scenes and nudes. In the late 1840s Millet began to devote himself to painting peasants and rural life, subjects that automatically had political overtones in the light of the 1848 revolutions. In 1849 he settled in Barbizon, continuing his depictions of the peasantry. He achieved some financial security thanks to Alfred Sensier, who supplied him with materials and sold his paintings. At the Salon of 1850-51 Millet exhibited The Sower (Museum of Fine Arts, Boston), which received a great deal of attention. Although the conservatives accused Millet of overemphasizing the poverty of the peasants, the republican and leftist movement hailed the painting as a dignified representation of the working class. Millet claimed to be interested solely in the biblical allusions of his subject, yet he seemed to persist in painting the poorest peasants at the worst tasks. The final ten years of his life were successful ones. A retrospective of his work at the Paris Exposition Universelle in 1867 solidified his reputation, and the following year he received the Legion of Honor. His work was influential for generations of artists.
crb
Son of a wealthy farmer, Jean-François Millet studied with a portrait painter from Cherbourg, Bon du Mouchel (1807-1846), himself a student of David (q.v.). Mouchel required his young apprentice to copy paintings in the museum in Cherbourg, where Millet had been sent to enter the studio of Lucien-Théophile Langlois (1803-1845), a former student of Gros (q.v.). Millet received a stipend from the city to move to Paris in 1837, enrolling in the École des Beaux-Arts in the studio of Delaroche (q.v.), where he met Couture (q.v.). Within two years he had left Delaroche, and his stipend was withdrawn. To earn a living, he executed pastels and small paintings in the style of Jean Antoine Watteau (1684-1729) and François Boucher (1703-1770). In 1839 the first painting that Millet sent to the Salon, Saint Anne Instructing the Virgin, was refused. The following year one portrait was accepted at the Salon, and Millet spent the winter in Cherbourg where he could make a living painting portraits. After his marriage to Pauline-Virginie Ono, he returned to Paris, painting various subjects but finding little success. He met Théodore Rousseau (q.v.) and Diaz de la Peña (q.v.) and was introduced to Durand-Ruel, who purchased some of his works, at that point mainly pastoral scenes and nudes. In the late 1840s Millet began to devote himself to painting peasants and rural life, subjects that automatically had political overtones in the light of the 1848 revolutions. In 1849 he settled in Barbizon, continuing his depictions of the peasantry. He achieved some financial security thanks to Alfred Sensier, who supplied him with materials and sold his paintings. At the Salon of 1850-51 Millet exhibited The Sower (Museum of Fine Arts, Boston), which received a great deal of attention. Although the conservatives accused Millet of overemphasizing the poverty of the peasants, the republican and leftist movement hailed the painting as a dignified representation of the working class. Millet claimed to be interested solely in the biblical allusions of his subject, yet he seemed to persist in painting the poorest peasants at the worst tasks. The final ten years of his life were successful ones. A retrospective of his work at the Paris Exposition Universelle in 1867 solidified his reputation, and the following year he received the Legion of Honor. His work was influential for generations of artists.
Biography
false
Gender:
M
cgn
M
Gender
false
Creator Birth Place:
Gruchy, near Greville, 4 October 1814
cbp
Gruchy, near Greville, 4 October 1814
Creator Birth Place
false
Creator Death Place:
Barbizon, 20 January 1875
cdp
Barbizon, 20 January 1875
Creator Death Place
false
Creator Name-CRT:
Jean-François Millet
crt
Jean-François Millet
Creator Name-CRT
false
Title:
Monsieur Martin
otn
Monsieur Martin
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
1840
oct
1840
Creation Date
false
Creation Start Date:
1840
ocs
1840
Creation Start Date
false
Creation End Date:
1840
oce
1840
Creation End Date
false
Materials and Techniques:
oil on fabric
omd
oil on fabric
Materials and Techniques
false
Dimensions:
Unframed: 46cm x 38cm
met
Unframed: 46cm x 38cm
Dimensions
false
AMICA Contributor:
The Cleveland Museum of Art
oon
The Cleveland Museum of Art
AMICA Contributor
false
Owner Location:
Cleveland, Ohio, USA
oop
Cleveland, Ohio, USA
Owner Location
false
ID Number:
1980.270
ooa
1980.270
ID Number
false
Credit Line:
Bequest of Noah L. Butkin
ooc
Bequest of Noah L. Butkin
Credit Line
false
Inscriptions:
Signed lower left: millet
oin
Signed lower left: millet
Inscriptions
false
Rights:
orl
<a href="http://www.clemusart.com/museum/disclaim2.html"target="_new">http://www.clemusart.com/museum/disclaim2.html</a>
Rights
false
Provenance:
Paris sale, Galerie Georges Petit, 22 May 1919 (lot 28, repr.), Portrait de M Martin, peint entre 1844 et 1848 (with a pendant portrait). Hamel, Lisieux. Etard, Lisieux. F. Cottin, Lisieux, by 1964. New York sale, Sotheby Parke-Bernet, 28 April 1977 (lot 156, repr.), $26,000. Shepherd Gallery, New York. Bought May 1977 by Mr. and Mrs. Noah L. Butkin, Cleveland. Bequeathed to the CMA in 1980.
opo
Paris sale, Galerie Georges Petit, 22 May 1919 (lot 28, repr.), Portrait de M Martin, peint entre 1844 et 1848 (with a pendant portrait). Hamel, Lisieux. Etard, Lisieux. F. Cottin, Lisieux, by 1964. New York sale, Sotheby Parke-Bernet, 28 April 1977 (lot 156, repr.), $26,000. Shepherd Gallery, New York. Bought May 1977 by Mr. and Mrs. Noah L. Butkin, Cleveland. Bequeathed to the CMA in 1980.
Provenance
false
Related Image Identifier Link:
CMA_.1980.270.TIF
ril
CMA_.1980.270.TIF
Related Image Identifier Link
false