Context of Creation. artist s world, further allowing the viewer to interpret the meaning of what is set in front of his or
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1 Anonymous 1 Anonymous Stéphane Beaudoin World Views (History of Art) 18 October 2017 Context of Creation No artwork emerges out of the void, without a cultural, historical and social context to support it. This context, while acting as a frame for the piece, also serves as a commentary on the artist s world, further allowing the viewer to interpret the meaning of what is set in front of his or her eyes. Jean-François Millet s The Gleaners, while being the emblem of the Realist movement in Revolutionary France, has broadened the manner in which painting is created and perceived 1. In fact, by his strikingly accurate depiction of the French peasantry, Millet does not simply replicate what is in front of his eyes, but he gives his own interpretation, supported by his concerns and beliefs, which will be discussed further down. His technique and the attention he gives to details, rendering a scene that looks real, is what makes Millet a prominent figure in Realism. However, the painter s tendency to paint the peasantry in a way that expresses the value he grants to manual labour tends to push the limits of Realism while also incorporating Idealism. The way Millet renders simple scenes, while also charging them with his political and cultural views, further illustrate how the painter, although anchoring his works into Realism, achieves to break the barriers of commonness, to reach a depth that is not characteristic of this movement 2. This is exemplified in The Gleaners, where instead of picturing one individual, Millet gives a face to a 1 Johnson, Beverly Elmyra. The relevance of art. Creative Renewal for Scholarship, 1987, pp Thomson, D.C. Realism in Painting. The Art Journal ( ), vol. 6, 1880, pp
2 Anonymous 2 whole social class, while still respecting the grounds of Realism by presenting to the viewer a scene that seems alive and reachable 3. Millet finds his influence in his interest in biblical texts and in secular pieces of literature. The painter s marked interest for biblical stories is however dimmed by his rejection of organized Christianity 4, leading to a rather abstract spiritual halo surrounding his works, that revolve around the religious aspect found in labour integrity 5. In fact, Millet, while never being truly in accordance with religion in general, does not completely turn his back on clerical influences, and that is perceived in his art and in his penchant towards naturalism and the representation of natural environments. The painter has a tendency, as is presented with his position between Realism and Idealism, and now with his oscillation between secularity and slight spirituality, to, without completely leaping into new genres, bring his art to force his current movement to evolve. In other words, instead of destroying his creative environment, Millet builds on those steady foundations in order to elevate the artistic sphere of his time. This putting down of barriers, albeit pushing Art to grow, principally serves as a scene for the painter s critic of his own society, encouraging his entourage and the whole of the French society to open their eyes. The Gleaners is a strong witness of Millet s values. In fact, the painter, with his representation of the peasantry as a peaceful yet powerful force, expresses the beauty that is to be found in the monotony and in the privacy of manual labour 6. His gleaners, although anonymous, are the face of a myriad of peasants that are given a voice by this representation. In fact, Millet s 3 Van Tilborgh, Louis, Millet, Van Gogh, Édition de la Réunion des musées nationaux, Murphy, Alexandra R., et al. Jean-François Millet Drawn Into the Light, Yale University Press, Dabakis, Melissa. Visualizing Labor in American Sculpture. Cambridge University Press, Clark, T. J. The Absolute Bourgeois Artists and Politics in France , Thames and Hudson Ltd., 1973
3 Anonymous 3 work, that focuses mostly on labour and on peasantry, is at the core of the modern conception of this social class. The emergence of The Gleaners during the French Revolution also hints towards the painting s heavy meaning. This simple portrayal of peasants, in a France that is shaken by turmoil and violence 7, is the debut of the recognition of those thousands of manual workers, that have been oppressed for too long. Millet s political concerns, showing up in most of his paintings therefore find echo in the French Revolution, which allows him to fully take a stand. This manifests in The Gleaners, that is a strong figure of this historical event, representing the rise of the lower social classes against the choking power of the upper classes. Even though The Gleaners carries a strong social value, it is received in a very controversial manner. In fact, while Millet s impeccable technique, his soft colors and his distinct way of portraying simple subjects are all admired, the precise way he presents peasantry is mitigated. For instance, the attention given to the dresses of the gleaners, that are supposed to be tattered, brings a sense of improper pride to the characters, which is not well seen in the artistic community 8. Millet s colleagues get a sense that the painter, that claims the beauty of monotony and manual labour still tries to add unnecessary superficial elements, that give a certain awkwardness to the painting. Millet s tendency to depict peasantry in a good light gives place to a clash, between what the reality of this social class, that should be addressed in the work of arts that belong to the Realist movement, looks like and the ideal of the painter. Millet s work is criticized mainly because the painter s intention to portray the ordinary, is overridden by the unusual touches of beauty, that should not appear in a crude representation. In fact, even 7 French Revolution. Wikipedia. Web. Accessed 17 October Clark, T. J. The Absolute Bourgeois Artists and Politics in France , Thames and Hudson Ltd., 1973
4 Anonymous 4 though those elements of richness are added to bring out the value of manual work, the essence of the painting remains misunderstood and largely criticized by the French art sphere of this epoch. However, nowadays, The Gleaners is regarded as a masterpiece of the Realist movement and as an important witness of the French revolution and its impacts. The Gleaners, along with most of Millet s works, despite rising controversy, influences many artists to pursue the portrayal of simple landscapes and of simple people. Most notably, Vincent Van Gogh expresses his admiration for Millet and his simple, yet striking representation of the people he is around every day. Van Gogh does not only appreciate Millet s dedication for peasantry he also, unlike others, understands the subtle spirituality haloing around artwork such as The Gleaners 9. Not only does Van Gogh gets Millet, he also recognizes himself in the artist, that differs from the artistic environment of his epoch. Van Gogh finds in Millet a mentor, a master, that shares both his enthusiasm for the countryside, but also for nature, untouched by the growing industrialization. Van Gogh finds himself replicating works from his master, but with his own twist, bringing the genre exploited by Millet to another level. The social rejection and refusal that Van Gogh faces is also comparable to what is experienced by Millet before his talent is recognized. Van Gogh, using the grounds set by Millet, then makes the style his own, as is seen in his early works, giving us today pieces such as Nature Morte aux Chaussures, which testify of Millet s influence. In conclusion, The Gleaners, that appears in a French Revolution context, carrying Millet s critic of his society, asserts the painter s view of peasantry, along with his political and 9 Van Tilborgh, Louis, Millet, Van Gogh, Édition de la Réunion des musées nationaux, 1998
5 Anonymous 5 social concerns, while also suggesting a further reflection on the structure of the organized world words
6 Anonymous 6 Work Cited List Clark, T. J. The Absolute Bourgeois Artists and Politics in France , Thames and Hudson Ltd., 1973 Dabakis, Melissa. Visualizing Labor in American Sculpture. Cambridge University Press, French Revolution. Wikipedia. Web. Accessed 17 October Johnson, Beverly Elmyra. The relevance of art. Creative Renewal for Scholarship, 1987, pp Murphy, Alexandra R., et al. Jean-François Millet Drawn Into the Light, Yale University Press, Thomson, D. C. Realism in Painting. The Art Journal ( ), vol. 6, 1880, pp Van Tilborgh, Louis, Millet, Van Gogh, Édition de la Réunion des musées nationaux, 1998
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