Fin du travail (The End of the Working Day) Jules Breton (French, 1827-1906). Fin du travail (The End of the Working Day), 1886-1887. Oil on canvas, 33 1/16 x 47 1/4in. (84 x 120cm). Jules Breton portrayed rural laborers, frequently young women, as dignified, majestic, and, above all, poetic. Here, bathed in the glow of the setting sun, three women cross flowering fields, their postures evoking those of ancient classical sculpture. Breton’s rosy sentimentalism and his visions of earthly and female fecundity—produced for the urban gaze—earned him both critical praise and commercial success. Ma
Fin du travail (The End of the Working Day) Jules Breton (French, 1827-1906). Fin du travail (The End of the Working Day), 1886-1887. Oil on canvas, 33 1/16 x 47 1/4in. (84 x 120cm). Jules Breton portrayed rural laborers, frequently young women, as dignified, majestic, and, above all, poetic. Here, bathed in the glow of the setting sun, three women cross flowering fields, their postures evoking those of ancient classical sculpture. Breton’s rosy sentimentalism and his visions of earthly and female fecundity—produced for the urban gaze—earned him both critical praise and commercial success. Many critics contrasted what they perceived as Breton’s optimism with Jean-François Millet’s savagery. As one described in 1868, “M. Breton never forgets that he is an He achieves results that are more sympathetic and seductive to the public of the city. He is little smitten with reality and generally horrified by the peasantry. M. Millet, on the other hand, has consistently taken the part of brutal reality.” European Art 1886-1887
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Photo credit: © BBM / Alamy / Afripics
License: Licensed
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