. Jean-François Millet, peasant and painter;. Modeling (which is the sculpturalpresentation of form bathed in air) engrosses him ; it is the first phaseof his transformation. He studies it in Correggio, the magician offlesh, the painter of natural grace and strong life. In 1843 ne exhibited nothing. In 1844 he sent two subjects, oneThe Riding Lesson, a group of children playing horse — onemounted on the back of another. At last, said Diaz, here is anew man, who has the knowledge which I would like to have, andmovement, color, expression, too,— here is a painter ! Millets life now became still
. Jean-François Millet, peasant and painter;. Modeling (which is the sculpturalpresentation of form bathed in air) engrosses him ; it is the first phaseof his transformation. He studies it in Correggio, the magician offlesh, the painter of natural grace and strong life. In 1843 ne exhibited nothing. In 1844 he sent two subjects, oneThe Riding Lesson, a group of children playing horse — onemounted on the back of another. At last, said Diaz, here is anew man, who has the knowledge which I would like to have, andmovement, color, expression, too,— here is a painter ! Millets life now became still harder, complicated by the sufferingsof a dying woman. He was without money, position, or never spoke of this time without a sort of terror. His material lifewas a daily fight. He was ready to do anything that chance offered,— had endless difficulties to get the most trifling sums paid. He metpeople who took advantage of his poverty, who wearied him withtheir refusals, and went to all lengths of cruelty. A different man. Portrait of Madame Millet. PEASANT AND PAINTER. 65 would have vowed vengeance on this inhuman society — this savageParis ; but Millet did not bear any malice. He merely told the fact,and added : Yes, there are bad people, but there are good ones also,and one good one consoles you for many bad. I sometimes foundhelping hands, and I dont complain. In 1844 he left his own country, to which he returned when hewas too hard pressed by trouble. He went to Cherbourg, where hewas well received. It must be admitted that his talent had acquireda more appreciable form, his drawing had a persuasive charm, thougha little affected. Color was his strongest point; atmospheric har-mony, richness of tone, and a peculiar use of rosy gray, gave anattractive warmth to his works. He executed with a rapiditywhich might be now called rather too easy, but there was so muchexuberance of strength, such a passion for covering canvas, that thepleasure of painting ove
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Keywords: ., bookcentury1800, bookdecade1880, bookpublisherlondo, bookyear1881
