Chapter XXIX: Jean François Millet

_Fontainebleau-Barbizon School_
1814-1875
_Pupil of Delaroche_

Two great artists painted peasants and little else. One was the artist of whom we shall speak, and the other was Jules Breton. One was realistic, the other idealistic. Both did wonderful work, but Millet painted the peasant, worn, patient steadfast, overwhelmed with toil; Breton, a peasant full of energy, grace, vitality, and joy.

Millet painted peasants as he knew them, and hardly any one could have known them better, for he was himself peasant-born. His youth was hard, and the scenes of his childhood were such as in after life he became famous by painting. Millet lived in the department of Manche, in the village of Gruchy, near Cherbourg. Manche juts into the sea, at the English Channel, and whichever way Millet looked he must have seen the sea. His old grandmother looked after the household affairs, while his father and mother worked in the fields and Millet must have seen them hundreds of times, standing at evening, with bowed heads, listening to the Angelus bell. He toiled, too, as did other lads in his position. His grandmother was a religious old woman, and nearly all the pictures he ever saw in his boyhood were those in the Bible, which he copied again and again, drawing them upon the stone walls in white chalk.

The old grandmother watched him, never doubting that her boy would become an artist. It was she who had named him--François, after her favourite saint, Francis, and it was she, who, beside the evening fire, would tell him legends of St. Francis. It was she alone who had time and strength left, after the day's work, to teach him the little he learned as a boy and to fix in his mind pictures of home. His father and mother were worn, like pack-horses, after their day in the fields. The mother very likely had to hitch herself up with the donkey, or the big dog, after the fashion of these people, as she helped draw loads about the field. Who can look for Breton's ideal stage peasants from Millet who knew the truth as he saw it every day?

Many years after his life in the Gruchy home, Millet painted the portrait of the grandmother whom he had loved so much that he cried out: "I wish to paint her soul!" No one could desire a better reward than such a tribute.

Millet had an uncle who was a priest and he did what he could to give the boy a start in learning. He taught him to read Virgil and the Latin Testament; and all his life those two books were Millet's favourites. Besides drawing pictures on the walls of his home, he drew them on his sabots. Pity some one did not preserve those old wooden shoes! He did his share of the farm work, doing his drawing on rainy days.

When he was about eighteen years old, coming from mass one day, he was impressed with the figure of an old man going along the road, and taking some charcoal from his pocket he drew the picture of him on a stone wall. The villagers passing, at once knew the likeness; they were pleased and told Millet so. Old Millet, the father, also was delighted for he, too, had wished to be an artist, but fate had been against him. Seeing the wonderful things his son could do, he decided that he should become what he himself had wished to be, and that he should go to Cherbourg to study.

François set off with his father, carrying a lot of sketches to show, and upon telling the master in Cherbourg what he wanted and showing the sketches, he was encouraged to stay and begin study in earnest. So back the old father went, with the news to the mother and grandmother and the priest uncle, that François had begun his career. He stayed in Cherbourg studying till his father died, when he thought it right to go home and do the work his father had always done. He returned, but the women-folk would not agree to him staying. "You go back at once," said the grandmother, "and stick to your art. We shall manage the farm." She sewed up in his belt all the money she had saved, and started him off again, for he had then been studying only two months. Now he remained till he was twenty-three, a fine, strapping, broad-shouldered country fellow. He had long fair hair and piercing dark blue eyes. All the time he was with Delaroche he was dissatisfied with his work--and with his master's, which seemed to Millet artificial, untrue. He knew nothing of the classical figures the master painted and wished him to paint, for his heart and mind were back in Gruchy among the scenes that bore a meaning for him. He wished to study elsewhere, and by this time he had done so well that one of the artists with whom he had studied went to the mayor of Millet's home town, and begged him to furnish through the town-council money enough to send Millet to Paris. This was done, and Millet began to hope.

He was very shy and afraid of seeming awkward and out of place. The night he got to Paris was snowy, full of confusion and strange things to him, and an awful loneliness overwhelmed him. The next morning he set out to find the Louvre, but would not ask his way for fear of seeming absurd to some one, so that he rambled about alone, looking for the great gallery till he found it unaided. He spent most of the days that followed gazing in ecstasy at the pictures.

He liked Angelo, Titian, and Rubens best. He had come to Paris to enter a studio, but he put off his entrance from day to day, for his shyness was painful and he feared above all things to be laughed at by city students. At last one day, he got up enough courage to apply to Delaroche, whose studio he had decided to enter if he could, as he liked his work best. The students in that studio were full of curiosity about the new chap, with his peasant air, his bushy hair and great frame, so sturdy and awkward. They at once nicknamed him "the man of the woods," and they nagged at him and laughed at the idea that he could learn to paint, till one day, exasperated nearly to death, he shook his fist at them. From that moment he heard no more from them, for they were certain that if he could not paint he could use his fists a good deal better than any of them. Delaroche liked the peasant but did not understand him very well, and Millet was not too fond of his painting, so after two years he and a friend withdrew from that studio and set up one for themselves. Thus eight years passed, the friends living from hand to mouth, doing all sorts of things: sign-painting, advertisements, and the like; and Millet, in the midst of his poverty, got married.

He went home, returning to Paris with his wife, and after starving regularly, he became desperate enough to paint a single picture as he wished. It seemed at the time the maddest kind of thing to do. Who would see ugly, toil-worn peasants upon his _salon_ walls? Paris wanted dainty, aesthetic art, and an Academy artist would have scoffed at the idea; but the Millets were starving anyway, so why not starve doing at least what one chose. So Millet painted his first wonderful peasant picture "The Winnower," and just as the family were starving he sold it--for $100. He had done at last the right thing, in doing as he pleased. This was a sign to him that there was after all a place for truth and emotion in art. But the Millets must change their place of living, and go to some place where the money made would not at once be eaten up. Jacque--the friend with whom Millet had set up shop, and who also became famous, later--advised them to go to a little place he knew about, which had a name ending in "zon." It was near the forest of Fontainebleau, he said and they could live there very cheaply, and it was quiet and decent. The Millets got into a rumbling old cart and started in search of the place which ended in "zon" near the forest of Fontainebleau. Jacque had also decided to take his family there and they all went together. When they got to Fontainebleau they got down from the car and went a-foot through the forest.

They arrived tired and hungry toward evening, and went to Ganne's Inn, where there were Rousseau, Diaz, and other artists who like themselves had come in search of a nice, clean, picturesque place in which to starve, if they had to. Those who were just sitting down to supper welcomed the newcomers, for they had been there long enough to form a colony and fraternity ways. One of these was to take a certain great pipe from the wall, and ask the newcomer to smoke; and according to the way he blew his "rings" he was pronounced a "colourist" or "classicist." The two friends blew the smoke, and at once the other artists were able to place Jacque. He was a colourist; but what were they to say about Millet who blew rings after his own fashion.

"Oh, well!" he cried. "Don't trouble about it. Just put me down in a class of my own!"

"A good answer!" Diaz answered. "And he looks strong and big enough to hold his own in it!" Thus the newcomers took their places in the life of Barbizon--the place whose name ended in "zon," and Millet's real work began. His first wife lived only two years, but he married again. All this time he was following his conscience in the matter of his work, and selling almost nothing. In a letter to a friend he tells how dreadfully poor they are, although his new wife was the most devoted helpful woman imaginable, known far and near as "Mère Millet." The artist wrote to Sensier, his friend, who aided him: "I have received the hundred francs. They came just at the right time. Neither my wife nor I had tasted food in twenty-four hours. It is a blessing that the little ones, at any rate, have not been in want."

The revolution of 1848 had come before Millet went to Barbizon, and he like other men had to go to war. Then the cholera appeared, and these things interrupted his work; and after such troubles people did not begin buying pictures at once. Rousseau was famous now, but Millet lived by the hardest toil until one day he sold the "Woodcutter" to Rousseau himself, for four hundred francs. Rousseau had been very poor, and it grieved him to see the trials and want of his friend, so he pretended that he was buying the picture for an American. That picture was later sold at the Hartmann sale for 133,000 francs. Millet was now forty years old, and had not yet been recognised as a wonderful man by any but his brother artists. He was truly "in a class of his own." He had learned to love Barbizon, and cried: "Better a thatched cottage here than a palace in Paris!" and we have the picture in our minds of Millet followed patiently and lovingly by "Mère Millet" in the peasant dress which she always wore, that she might be ready at a moment's notice to pose for his figures. Then there were his little children and his sunny, simple, fraternal surroundings, which make his life the most picturesque of all artists.

His paintings had the simplest stories with seldom more than two or three figures in them. It was said that he needed only a field and a peasant to make a great picture. When he painted the "Man with the Hoe," he did it so truthfully, in a way to make the story so well understood by all who looked upon it, that he was called a socialist. No one was so much surprised as Millet by that name. "I never dreamed of being a leader in any cause," he said. "I am a peasant--only a peasant."

Of his picture "The Reaper" a critic wrote, "He might have reaped the whole earth." All his pictures were sermons, he called them "epics of the fields." He pretended to nothing except to present things just as they were, as he writes in a letter to a friend about "The Water Carrier:"

In the woman coming from drawing water I have endeavoured that she shall be neither a water-carrier nor a servant, but the woman who has just drawn water for the house, the water for her husband's and her children's soup; that she shall seem to be carrying neither more nor less than the weight of the full buckets; that beneath the sort of grimace which is natural on account of the strain on her arms, and the blinking of her eyes caused by the light, one may see a look of rustic kindliness on her face. I have always shunned with a kind of horror everything approaching the sentimental. I have desired on the other hand, that this woman should perform simply and good-naturedly, without regarding it as irksome, an act which, like her other household duties, is one she is accustomed to perform every day of her life. Also I wanted to make people imagine the freshness of the fountain, and that its antiquated appearance should make it clear that many before her had come to draw water from it.

At forty he was in about the same condition as he had been on that evening ten or twelve years before, when he had entered Barbizon carrying his two little daughters upon his shoulders, his wife following with the servant and a basket of food, to settle themselves down to hardship made sweet by kind comradeship and hope. Now a change came. Millet painted "The Angelus." He was dreadfully poor at that time and sold the picture cheaply, but it laid the foundation of his fame and fortune. He had worked upon the canvas till he said he could hear the sound of the bell. Although its first purchaser paid very little for it, it has since been sold for one hundred and fifty thousand dollars.

At last, having struggled through his worst days, without recognition, and with nine little children to feed and clothe, he was given the white cross of the Legion of Honour; and as if to make up for the days of his starvation, he was nearly feasted to death in Paris. He was placed upon the hanging committee of the _Salon_, and took a dignified place among artists. He and Mère Millet travelled a little, but always he returned to Barbizon, till the war came and he had to move to Normandy to work. Afterward he returned to Barbizon, to the scenes and the old friends he loved so well, and there he died. He had come back ill and tired with the long struggle, and he instructed his friends to give him a simple funeral. This was done. They carried his coffin, while his wife and children walked beside him to the cemetery, and he was buried near the little church of Chailly, whose spire is seen in "The Angelas," and where Rousseau, whom he loved, had already been laid.

There in Barbizon, to-day, may be seen Rousseau's cottage and Millet's studio. "The peasants sow and reap and glean as in the days of Millet; Troyon's oxen and sheep are still standing in the meadow; Jacque's poultry are feeding in the barnyard. The leaves on Rousseau's grand old trees are trembling in the forest; Corot's misty morning is as fresh and soft as ever; while Diaz's ruddy sunsets still penetrate the branches; and the peasant pauses daily as the Angelus from the Chailly church calls him to silent prayer."

PLATE--THE ANGELUS

In "The Angelus" you may see far-off the spire of the church at Chailly, from which the bell sounds. The day's work is drawing to a close. The peasant man and woman have been digging potatoes--the man uncovering them, while his wife has been putting them in the basket. As the Angelus floats across the fields, the two pause and bow their heads in prayer. The man has dropped his fork and uncovered his head, and his wife has clasped her hands devoutly before her.

All the air seems still and full of tender sound and colour, and we, like Millet, seem "to hear the bell." This is the only picture he painted which is full of the sentimentality he so much disliked. It is a great picture, but we need to know the title in order to interpret it.

Besides this one, Millet painted "The Gleaners," "The Woodcutters," "The Sower," "The Man with the Hoe;" "The Water Carrier," "The Reaper," and many other stories of the peasant poor.