Jean-Francois Millet (1814-1875), the most beloved painter of France's most popular working people, is one of the most outstanding French realist painters of the 19th century, known for his representation of peasant themes, forty classic paintings
With International Labour Day approaching, I have carefully selected forty paintings by Jean-Francois Millet, france's most beloved painter for the laborers, Jean-Francois Millet. Painting appreciation is a beautiful spiritual enjoyment that can bring people pleasure, and this happiness is pure and bursts out from the heart. The appreciation of art has not changed since ancient times, and the whole process will obviously make people feel happy.
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The 17th century in France is known as the Age of Louis XIV, and the monarch who dominated Europe did not forget to establish a unified official art scene. Art in the service of the king and his elites abounded ancient and modern ideas, Catholic and secular thought, and gave realistic depictions the appearance of myths. It advocates the classical spirit and shows the characteristics of solemnity, nobility and love of order. Most of its major painters went to Italy to observe and study, and even lived for a long time, and they used Greece and Rome as models, influenced by Caracci eclecticism, Caravaggio's strong contrasting techniques and Venetian colors.
French painting in the 18th century achieved a recognized leading position because its painters grasped the spirit of the times. Entering a prosperous Europe requires courteous communication with women, clever and humorous manners, and a more relaxed artistic style.
P. de la Roche, who was between classicism and romanticism in the first half of the 19th century, was a painter of historical subjects. Although his prestige is not small, the works give people nostalgic feelings and lack the atmosphere of the times.
Among the French 20th-century sculptors, there is also A. Giacometti, who was born in Switzerland, J. Arp, who is Dadaist, and E. Martin, Sezar, F. Armand of the middle-aged generation.
Below we share the classic paintings of the French acura laborer artist Jean François Miller.
Jean-Francois Millet (1814-1875) was the most beloved painter in the history of modern French painting. His simple and kind artistic language was especially loved by the vast number of French peasants. Born into a peasant family, he showed a genius for painting at an early age, and was encouraged by his teachers to study painting.
He studied painting under Delaroche, but later studied film because he was dissatisfied with the teacher's flashy style and inability to afford the tuition. In 1849, he settled in the village of Barbizon and engaged in farming to support his livelihood. In long-term contact with the peasants he knew, many important works were produced here. He once said that a farmer, I am willing to die to be a farmer. I'm going to paint a picture of what I feel. "Sowing Seeds", "Evening Bell", "Shepherd's Girl", "Death and the Woodcutter" and "The Man Who Supports the Hoe" all depict and praise the working life and simple character of the peasants, and also expose the cruelty of the system of exploitation, which has been vilified by the bourgeoisie. Some of the characters in the works have religious feelings. The style of painting is known for its simplicity, solemnity and lyrical atmosphere, but it was not until his later years that his works attracted attention.
On a clear morning in July 1849, he took his wife and five children, together with Charles Jacques, got into a bulky Japanese sports car and drove to Fontainebleau, 90 kilometers from Paris, and then, carrying a simple bag, walked to the village of Babi Zhong. The peasant's son finally returned to the countryside, looking at the trees and fields there, and he cried out with joy: "Oh, God, how beautiful this place is!" He breathed in the fragrance of the land again, and heard the clamor of the forest again, and all the things he had been fascinated by in his childhood reappeared in front of his eyes. Thus, the "Babizon School", with Rousseau, Thea Chronicles Of Puller, Corot and Miller as the main members, and was famous in the history of European art was thus formed.
The main paintings of Miller, the most beloved painter in France, are: "The Sower", "The Gleaner", "The Evening Bell", "The Shepherd and the Flock", "Death and the Woodcutter", "The Man Who Supports the Hoe", "Feeding", "The Farmer Who Grafts the Trees", "The Goose Maiden Bathing", "The Sacrifice", "The Spring of Barbizon", "On the Way to Work", "The Harvester's Lunch"
"The Woman with the Rake", "The Farmer Carrying Back the Newborn Calf", "Daisy", "Autumn of the Haystack", "Shepherd Guarding the Flock", "Potato Grower", "Couple Returning from Work in the Field", "The Woman Who Dried Grass", "The Woman Who Baked Bread", "The Woman Carrying Firewood and a Bucket of Water", "The Young Shepherd Girl", "The Winter Firewood Collection", "Harvesting Potatoes", "Normandy Milking Woman", "The Woman Who Dried Clothes"
"Peasant Family", "Sleeping Tailor", "Spinning Woman", "Laundry Woman", "Young Tailor", "Woman Who Makes Textiles", "Peasant Woman Who Pours Milk", "Sawmill Worker", "Sheepfold in the Moonlight", "Nap", "Sleeping Child" and so on.
Appreciation of Miller the Sower, france's most beloved painter among working people
Miller, The Sower (1850); 101×82.5 cm; Collection of the Museum of Fine Arts, Boston, USA.
In the desolate wheat field of this painting, the sower strides and waves his arms, sowing the seeds of hope. Birds hover in the air, foraging for food and plundering the seeds sown – a magnificent picture of the relationship between man and nature.
The painting was disturbed by the "high townspeople", who saw in the rhythmic and powerful movements of the sowers images similar to the people of the streets of Paris during the June Revolution. But the progressives of the time had a different reaction. The writer Victor Hugo saw in this painting a praise for the creativity of the people and therefore fully affirmed it. The literary critic Gottier said the image was painted from the soil of the land where the seeds were sown, and that it was too real. The painter used a sculptural simple and concise image to express the intriguing content in general, so the Dutch painter Van Vladimir. Gao commented: "In Miller's work, the image of reality has a symbolic meaning at the same time. ”
Miller never painted scenes of peasant revolt, perhaps because of the religious sentiments in his gentle humanitarian spirit. But the image of a calloused, coarsely clothed laborer is actually a kind of resistance to the drunken and golden-obsessed, red-and-red high society, although this struggle is relatively mild. This is the case with the Sower.
Appreciation of Miller the Gleaner, france's most beloved painter among working people
Miller, Gleaner, 83.5x111cm, oil on canvas, collection of the Musée d'Orsay, Paris, 1857.
The painting depicts one of the most common scenes in the countryside: in autumn, the golden fields look endless, and on the land after the wheat harvest, three peasant women are bending over to carefully pick up the lost ears of wheat to replenish the food in the house. The pile of wheat behind them, which looked like a hill, seemed to have nothing to do with them. Although we can't see the faces of these three peasant women and the expressions on their faces, Miller depicts their postures with the solemn beauty of classical carving. The movements of the three peasant women are slightly different in angle, and there is the beauty of the action chain, as if it is a decomposition diagram of the peasant woman's gleaning action. The peasant woman with the red turban was picking it up quickly, and with her other hand she was holding the large bundle in the bag of wheat ears, and it could be seen that she had been picking it up for a while, and there was a small harvest in the bag; the woman with the zalan turban had been exhausted by the repeated bending motions, and she looked tired, and propped her left hand behind her waist to support the strength of her body; the woman on the right, with her face half bent over and holding a bunch of wheat in her hand, was carefully inspecting the wheat field that had been picked up once to see if there was any missing ears of wheat.
On the screen, Miller uses a charming warm yellow tone, and the calm and rich colors of the red and blue turbans melt in yellow, and the whole picture is quiet and solemn, pastorally conveying Miller's deep sympathy for the difficult life of farmers and Miller's special love for rural life.
The whole work is extremely simple and simple, the clear sky and the golden wheat field are very harmonious, and the rich colors are unified in a soft tone, showing us a charming rural scenery. Like Miller's other masterpieces, although the content of the painting is easy to understand, concise and simple, it is by no means mediocre and shallow, and it is unobstructed, but the meaning is profound and thought-provoking, which is also an important feature of Miller's art.
Appreciation of Miller's "Evening Bell", the most beloved painter in France
Miller The Evening Bell, oil painting 66 x 55.6cm, 1859, now in the Musée d'Orsay, Paris.
Between 1858 and 1859, Miller created his masterpiece "Evening Clock". One is called "Evening Bell" and the other is "Evening Vespers", which often causes confusion. These two names, one virtual and one real, no matter which name, can not highly summarize the content of the painting, but since everyone has agreed, then call both! The painting profoundly reflects a complex peasant spiritual life: on the screen, the sun sets, and the day's hard work in the field is over. As soon as a peasant couple heard the church bells ringing in the distance, they naturally and habitually bowed their hats and prayed. The painter focused on depicting the piety of fate of these two figures. On the earth filled with the mist of dusk stood two creators of agricultural products, who thanked God for the grace of a day of labor and prayed for blessings. This favor is two small bags of potatoes on the cart next to the farmer's wife!
Such a favor is the reward for a day's work? The figures are so isolated and helpless in the paintings, and they embody the peasants' character of being obedient and at ease with their encounters. Rudimentary tools of production, an iron stick for digging potatoes on the left, a broken basket in the middle, and the only thing on them was the tattered jacket. The sunset casts a melancholy atmosphere on the earth, where the painter devotes all his efforts to portraying this melancholy atmosphere and allowing it to envelop the image of this amiable and poor labor couple. He emphatically depicts the piety and simplicity of the peasant couple, and pins his infinite sympathy for the peasants' living conditions.
In terms of tone, the twilight is dull, the farmer takes off his hat and the young woman prays with her palms, the yellow-brown tone is solemn and warm, and the horizon and the figures just form two dignified crosses, which can be used by Winkelmann to comment on the famous sentences of ancient Greek sculpture, "noble simplicity, quiet greatness". Such feelings later we can only be in the mortal. Gao's "Potato Eater" and the depiction of farm shoes, large and small, are also great peasant painters, feeling poetic in their daily labor and frugal life.
Miller, the most beloved painter in France, "Shepherd and Flock"
Miller, The Shepherd and the Flock (1864); oil on canvas; Musée d'Orsay, Paris.
In this painting, the painter captures a very lyrical scene of shepherd life (sky, grassland, flock, praying maiden): high horizon, flat and vast, shepherd girl draped in old felt shawl, wrapped in a red turban, alone with the sheep... This shepherd girl with a dark red embroidered hat on her head and a heavy felt on her body, with her back to the sheep and the rainbow, and the sweater she woven from her hand, her slightly bowed figure and focused expression were like prayer-like devotion.
In fact, it combines the strengths of "Gleaning" and "Evening Bell": bowing her head and praying, thanking the shepherd girl who gave her a job opportunity, and other paintings also contain the simple heart of the peasant and the religious feelings of piety. The shepherd girl stood in the afterglow of the setting sun, although her face and body were darker than the surrounding scenery and sheep because of the backlight, but Miller's smooth and calm colors depicted the shepherd girl's body, which had to be slightly hunched by the pressure of life, like a statue standing on the earth, making it difficult for people not to look at it more; although her clothes were ragged and her expression was also very tired, in Miller's eyes, she and other peasants were heroes of "day after day of labor, to nurture this great nation and to create this beautiful country". There is a kind of ordinary poetry.
Some people say that the pious shepherd girl is Miller, or his spiritual embodiment, and that throughout his life is the author's own devotion to the earth and nature. The melancholy and sorrowful shepherd girl, standing in the wilderness in the afterglow of the setting sun, seemed to be silently praying. Miller felt the bitterness and pain of the poor laborer because of his own experience, so he created the painting with compassion and compassion.
The "peasant painter" Miller grew up watching peasants survive in nearly inhuman and strict labor, so when he looked at nature, he did not neglect the human beings who were united with the earth in nature. In contrast to Dutch genre painting, there are no dramatic contingencies in this painting, except for flocks of sheep in the twilight and shepherd girls bowing their heads in prayer. At first glance, the composition method that seems random deepens the quiet atmosphere of the picture through the deep twilight. The painting unexpectedly garnered miller acclaim in the official exhibition, perhaps because of the "realness" captured on the canvas, miller's work also touched us deeply beyond the times. In 1864, Miller participated in the Salon art exhibition in Paris, France with this painting "Shepherd Girl", which received great praise. This painting is more meticulous, unified and harmonious in terms of color and the image of the shepherd girl. The lyrical melancholy strengthens the touching power of the whole painting And the sense of reality strengthens the local atmosphere of the whole painting.
Miller, the most beloved painter of France's working people, "Death and the Woodcutter" appreciation
Appreciation of Miller's Death and the Woodcutter. The poem (which was adapted from Aesop's fable The Old Man and the Grim Reaper) is a true picture of the plight of the poor French peasants of the second half of the 17th century: they had to pay a lot of taxes and heavy servitude. On the one hand, they have to suffer from the economic exploitation of the usurers' donkeys, and on the other hand, they have to endure the harassment and disturbance of the soldiers; they are also dragged down by their wives and children, so they lack food and clothing, cannot rest all year round, and have never enjoyed the joy of the world.
The most beloved painter in France, Miller," an appreciation of "The Man With the Hoe"
Miller, The Man with the Hoe, 1863; oil painting; private collection in San Francisco.
In 1862 Miller completed The Man with the Hoe, which strongly demonstrated the weight of life's pain. On a barren land, a young farmer is gasping for breath with a hoe. This person had difficulty straightening up from morning to night, and could only stop by chance and take a breath. Young men who hoe the fields stand with their hoes on their hooves, gasping for breath on their heads, and looking up into the distance. It seemed that the heavy weight of life and labor had exhausted his energy, and there were still large fields of wheat waiting to be cultivated in front of him, and in the distance was the hazy figure of the city, which was another life that did not belong to him. This is undoubtedly a work that challenges society, he depicts a solemn image of a laborer, where the painter utters a poignant cry.
Miller's "Man with the Hoe" is beautiful. Although, in the picture of the barren land of overgrown and rocky piles, he held on to his hoe, gasping for breath, too tired to stand up straight. But "beauty cannot be expressed by the shape and color of the face", his raised head, the eyes that look far away, exude the sorrow of the heart and the hardship of fate, and express the expectation and yearning for a happy life.
Appreciation of Miller, the most beloved painter of France's working people, "Feeding"
Miller," "Feeding" in 1872; The Louvre, Paris.
This is a very common scene of life in the countryside of northern France. The picture shows the doorway of a stone wall of a farmhouse. Three children dressed in the same gray-blue clothes, sitting side by side on the threshold, looked very innocent, waiting for their mother in a red dress to take turns feeding them spoon by spoon. On the right side of the end of the stone house wall, in the shade of a tree, the father of the child, wearing a straw hat, is bending down to work in the field, and he is the master of the house. Judging by the clothing of the mother and children and the environment of the farmhouse, this is a not-so-wealthy farmhouse.
The youngest of the three children was a boy with his mouth open to receive the spoon that his mother had stretched out, the girl on the right looked at his little brother with concern, and the older sister on the left was holding a small doll in her arms, and her eyes were fixed on the spoon that her mother had fed her brother. The afterglow of the setting sun reflects the four mothers and sons full of love and warmth. A hen is slowly walking towards them, making the picture present a strong breath of life, which is a hymn of the simple and sincere maternal love of the laborer, full of lyrical and beautiful mood.
Miller, the most beloved painter of France's working people, "The Farmer Who Grafted Trees" appreciation
Miller, The Peasant Who Grafted the Trees, 1855, Oil Paint, Collection of the Louvre, Paris.
The most peaceful of the paintings, the main color of the painting is still a mixture of golden and ochre colors, and the colors are bright and bright. The background of the painting is a simple farmhouse with a square smoke pipe on the left side of the farmhouse, and the sky above the smoke pipe is a light gray. To the left of the farmhouse there is a small hedge garden, and in the garden a pear tree next to the farmhouse has blossomed. It was supposed to be an early Spring morning in France, with the farmer who grafted the trees and his wife standing in the morning sun.
The farmer was grafting on a tree, his all-encompassing gesture sculptural, and his wife stood there with her hands in her arms around their baby and looked at him peacefully at the grafting. Behind the farmer lay a branch and a saw that he had sawed off, and in the basket in front of the farmer's feet was filled with loose wood for grafting. At this moment, the tree behind the farmer who grafted the tree and his wife covered the roof on the right side of the farmhouse, so that the whole painting brings the appearance of the farmer and his wife who grafted the trees into our field of vision.
Miller's outstanding style is characterized by thick and rough, he seems to pay special attention to the depiction and depiction of details, paying more attention to the shaping of roughness and strength and the sense of wholeness; the relationship between the peasant, the wife and the baby, the color relationship, and the oil painting technique in the picture are natural and simple, plain and kind, conveying an affinity family atmosphere. It is a realistic style painting.
Miller, the most beloved painter of France's working people, "The Goose Girl Bathing"
Miller, "The Bathing Goose Maiden", 1863, 38cm×46.5cm, Oil on canvas, Walters Museum of Art, Baltimore.
This painting is a painting of the human body painted by the painter in Barbizon. The clear river in the painting meanders through, the white flock of geese frolicking in the water, the shepherd goose girl can not resist the temptation of the river, is about to enter the water to bathe happily. The figures are thick and powerful, and the painter paints a young girl's summer afternoon water scene in a lyrical tone so vivid and simple, as fresh and beautiful as the wildflowers blooming in the barbizon land.
The tone of this summer is goose yellow and emerald green, and the forest goose girl herself is alone. A small river bent over and flowed from the other side of the woods, and the fairy-like white geese frolicked in the water, making the shade of the two tree crowns on the shore more lush. A white goose is swimming towards the shepherd girl, one is standing on the shore with its head out into the water, and the other is spreading its wings on the shore to look out and listen to the birdsong in the trees. And the silently growing woods in the distance are quiet in the grassy air, making the naked body of the goose girl who is preparing to take a bath plump and glow golden.
This is a perfect picture of a ketone body, so beautiful that people do not have a trace of desire and distractions. The shepherd goose girl sat quietly on the bank of the small river, with a pale green silk scarf wrapped around her head, and her breasts, which had just matured, were golden yellow. Behind her were her two trunks, her dress and a goose-herding pole, the goose-herding woman's orange face was brooding, her left hand was propped on the grass on the riverbank, one leg arched the other leg had reached into the river, and the dark green branches on the riverbank, at this time, also felt the coolness of this summer's shepherd's bath.
In this work, Miller expresses an innocent local atmosphere. The picture shows the goose girl in the jungle by the river, who is about to go into the water to bathe, and the naked body of the girl is expressed by the painter as plump and strong, youthful and healthy, and the dense jungle sets off the beautiful curve of the girl's body, and the geese in the distance add to the vitality of the picture. With realistic skills and keen observation, the painter depicts the light and shadow of the jungle, and highlights the light and shadow effects of the young woman's nude, making the picture appear unified and harmonious.
Appreciation of Miller's "Sacrifice" by The Most Beloved Painter of France
Miller's Sacrifice, 1845, 52 cm× 29.2 cm cloth Oil on canvas, Montpellier, Collection of the Fabre Museum.
The painter depicts a pure love girl offering sacrifices to an idol in a mysterious color tone. The picture is full of drama, and Miller uses his usual heavy shape to reflect the gesture of the maiden offering sacrifice. The picture is full of lyrical romance and mystery.
Miller, the most beloved painter of France's working people, "The Spring of Barbizon"
Miller's Spring in Barbizon (1868-1873) oil on canvas, 86×111cm, Louvre, Paris. This is the scenery of a farm in northern France after the rain. After the rainstorm, the warm sunlight on the background of the sky is sprinkling the earth through the clouds, and the leaves wet by the rain are shining green. The colorful brilliance of the painting makes the composition of nature bright and bright, a rainbow hangs in the sky on the left side of the farm, the grass and trees of the spring season seem to have just awakened from sleep, and the earth is full of life.
A path runs through the land in the middle of the farm, there are three fruit trees on the left side of the path, two small and one large, under the trees grow green vegetables, on the right side of the path is a plum tree? Its canopy is covered with bright red fruits, tempting birds that fly freely in the distance. The path from the village leads to the distant woods, so that the clouds swimming in the sky are gradually dissipating, and at this moment, the farms of the earth are brightly colored in a poetic way, and the leaves on the trees in the spring are also intoxicated happily.
Miller, the most beloved painter in France, enjoys "On the Way to Work"
Miller's "On the Way to Work" works, in the land where the sun rises and the sun rests, the sun has just risen from the east, and a young French peasant couple is walking shoulder to shoulder to the summer field. The man wears a gray-green shirt and a pair of worn-out trousers, and he carries a rake of the stick on his right shoulder and a large hammer in his left hand. The woman, dressed in a dark brown robe, wore a basket of potatoes on her head as a straw hat.
The rays of the morning sun shine from afar on the right, causing the man's right side of his face to appear as a black silhouette, forming a tone of chiaroscuro contrast with the bright half of his wife's face next to him. At this moment, the faces of the young couple showed a warm and contented expression, and their images appeared more vivid and natural under the illumination of the morning light. Behind them bulged a slope of land, making the distant sky tremble with a golden background. From a distance, you can see the hazy haystacks in the field, and there is a horse-drawn carriage and the shadow of the peasants' labor.
Miller, the most beloved painter of France's working people, "The Harvester's Lunch"
Miller's "Harvester's Lunch", a harvest of wheat in the northern part of France, is a harvest season in northern France, where a group of earth harvesters are doing their toil lunches in the wilderness. The figures of the thirteen laborers in the painting shine with charming golden tones, the background of the harvester's lunch is three new wheat stacks that have been piled high, the two new wheat stacks a little farther away are golden erected in the sky, the new wheat stack next to the harvester's lunch appears as a thick yellow-brown, and two wooden ladders lean against the new yellow-brown wheat stack, so that the wheat behind the harvester's lunch is golden and bright, and there is a baby sleeping in the basket on the side of the wheat.
The harvester's lunch room was single and rich, and some of the people who ate the lunch were eating bread, some were crawling on the wheat bales, and one was probably already finished eating and fell asleep with the wheat bales on his pillow. In the center of the painting, a peasant woman with a gray silk scarf wrapped around her head is pouring water for the luncheons in an orange-brown clay pot, and another farmer and peasant woman are looking back to the left. For on the left there was a couple who had just come out of the wheat field, the man wearing a new straw hat on his head, and the woman holding an ear of wheat in his right hand in his arms. The harvesters of lunch were now tired and joyful, immersed in the bountiful mood of the harvest of the earth, and even the row of curved scythes placed on the wheat bales beside them was resting on their shining blades.
In "The Harvester's Lunch", these peasants who work for the landlord rest for lunch by the tall wheat stack, the village girl who arrives late shyly bows her head and does not dare to eat, while the young farmer tries to persuade, and the others also look at her with expectant eyes, and her hesitant look is simple and generous.
Miller, the most beloved painter in France, appreciates "The Woman with the Rake"
Miller's "Woman with a Rake" A peasant woman stands alone on the ground, wearing a gray turban, and the gray and white dress hangs plainly towards the grass. She held a rake in her hand in the rake, and the haystack behind her was brownish yellow, and the grass stack looked at the distant woods, mountains and the vast sky. The peasant woman's expression was focused and calm when she was raking the grass, and she was thinking about her children or her husband? She breathed in the scent of the sun and rain on the grass and the sound of the moonlight stars, and the shadow of the birds as they flew over the fields.
At this time, in the background behind the peasant women, other peasant women were also raking grass, and one of them was bending over with strength. The other stood beside her, the haystack behind them also brownish-yellow, and in the distance there were two peasant women busy in the brown of the haystack. All this, together with the distant woods, the mountains and the vast sky, constitute a poetic picture, and the labor of this peasant woman who stands in front of me in the rake grass is filled with a kind of hard piety.
Miller, france's most beloved painter among working people, "The Peasant Carrying Back the Newborn Calf" appreciation
Miller's "The Farmer Carrying Back the Newborn Calf" Works Appreciation. The golden image shone with some blindness as two farmers walked toward their country courtyard carrying newborn calves. A peasant woman on their side, with a white silk scarf wrapped around her head, held the cow's rope in her hand to block the cow's body. The cow licks her calf with her tongue as she walks. The calf sat quietly on the wheatgrass carried by two farmers on stretchers, and it had just come to this world, and probably a pair of eyes had not yet been opened.
Lush trees grew inside and outside the walls of this country courtyard, and a thick canopy covered the roof of the farmhouse, leaving the walls on either side of the door covered with grass. Now two farmers carrying calves are about to enter the courtyard of the countryside, dressed in olive overalls and brown straw hats, immersed in the joy of adding livestock and mouths, and a bunch of sunset through the shade of the trees seems to be intoxicated. The two girls playing in the courtyard did not know what had happened this afternoon, and they stood in the doorway of the courtyard, and the eldest girl was holding the little girl in her arms and smearing her childhood with gold.
Appreciation of Miller's Daisies, the most beloved painter of France's working people
Appreciation of Miller's "Daisy" works. This "Daisy" was also a work of study at that time, painted in color chalk. A pot of daisies on the windowsill bloomed very densely. There is also a sewing kit on the right side, and the family atmosphere is extremely strong. Miller, who is in his 50s, seems to be deliberately looking for solace in his soul from these still lifes. Behind the daisy potted flowers, he also vaguely drew the appearance of his wife.
Miller, the most beloved painter in France, appreciates "Autumn of the Haystack"
Appreciation of Miller's "Autumn of the Haystack". Miller, 1874, oil on canvas, Metropolitan Museum of Art, New York.
Miller, the most beloved painter in France, "The Shepherd Who Watches Over the Flock"
Miller's "Shepherd Watching Over the Flock", 81.8 × 100.5 cm, 1860-1863.
Miller, the most beloved painter of France's working people, "Growing Potatoes" appreciation
Miller's "Growing Potatoes" is a golden autumn in northern France, where a peasant couple is tidying up their land in the fields, and the picture is kneaded together by two colors, golden and ochre, making the earth and the wilderness appear as a charming color. The man wore a brown sticky hat and stooped sideways, holding a pout in both hands and plowing the ground, his legs stuck in the dirt with force.
The woman stood on the man's right side facing the ground, a gray silk scarf wrapped around her head, making the look of her face peaceful and peaceful, and the woman's right hand reached out to the man and pouted his head in the place of the planing, and the soil seemed to be very hard. Behind them stood two trees, under which there was a circular stripe of baskets with a dark dress draped along the edges, in which the peasant couple's babies were asleep. There is also a gray donkey under the tree, and it is listening to something with its ears open. Not far away, the four small trees are golden and the village looms in the distance, making the water blue and gray clouds of the sky poetic and bright.
Miller, the most beloved painter of France's working people, "The Couple Returning from the Fields" appreciation
Miller's "Couple Returning from a Field" works appreciation. The old autumn sunset also wanted to go home, and the evening sky was painted with the last pattern of the sunset, making the earth vast in a poetic tranquility. On a road in a French rural field, a young peasant couple is returning from a field job. Three sturdy sheep walk at the very front of the road, giving the impression of returning to the circle like an arrow.
The gray donkey in the middle was the hardest, carrying two baskets and a peasant woman on either side of its back. Are the two baskets filled with potatoes that have just been harvested from the field? The donkey's eyes seemed to be contemplating and listening to the smell of earth on the potato. All this seemed to have nothing to do with the peasant woman sitting on the back of a donkey, who was looking out at the sky in the distance.
A gray shawl and an orange-red skirt had already made her smell of cooking smoke over the village, and perhaps her children were catching dragonflies and playing at the head of the village. Her husband, on the other hand, walked to the end against a hammer, his olive shirt and a brown straw hat already dyed red by the sunset, along with his day's labor and the burning sky against the backdrop of the distant mountains.
Miller, the most beloved painter in France, enjoys "A Nap in the Grass"
Appreciation of Miller's "Grass Break" works. It was the autumn season in France, the vast wilderness was golden, and the earth and sky in the distance were stretching out in obscurity, so that a small river in front of us flowed quietly to the west, and on the field on the other side of the river stood the figure of two cattle herders, and several cows were eating grass on the grass by the small river, two of which were drinking water in the river.
It was nearly noon, and four French peasant women on the banks of the river were taking a nap, one of whom was lying on the bank of the river, and behind her lay a wooden stick, and the two peasant women sat peacefully next to a large haystack. On the big haystack was a wooden handle pointing obliquely to the sky, while a basket on the side of the big haystack was silent on its own, and on the opposite side of the big haystack another peasant woman was standing tiredly, holding a wooden stick in her left hand and holding a bowl in her hand to drink water.
Judging from the looks of a few peasant women taking a nap on the grass, the autumn weather must be very hot, what are they thinking at the moment, perhaps, except for the desire to dry the grass as soon as possible, their hearts are a lonely blank.
Appreciation of "The Woman Who Baked Bread", the most beloved painter in France, Miller
Miller's "The Woman Who Baked Bread" Appreciation of Miller's works, oil on canvas, dimensions: 55cm × 46cm, created in 1854, collection of the Köller-Miller Museum in the Netherlands.
Miller, the most beloved painter in France, admired the woman carrying firewood and a bucket of water
Appreciation of Miller's "The Woman Carrying Firewood and a Bucket of Water".
Appreciation of Miller, the most beloved painter of France's working people, "The Woman Carrying water"
Miller's "The Woman Carrying the Water" in Miller's paintings are almost mostly people who work in pastoral farmhouses and earthy fields, and this painting is also a simple farmhouse in a village in northern France.
A young peasant woman was standing in her yard carrying two wooden buckets, with an orange silk scarf wrapped around her head and a lilac blouse, while a dark green skirt set off a pair of dark brown shoes that were stained with dirt.
Now, the roof of the farmhouse in the background behind her was painted with thick green patches of moss, making a rectangular window black and black, making the beds and furniture in the farmhouse invisible. From a distance, on the wall to the left of the window, a farm tool and a tin pot for watering the vegetable garden make the walls of the farmhouse look old and rustic.
To the right of the peasant woman is a low wall made of stones, and the outside of the wall should be her family's tree garden, right? At this moment, where is the peasant woman planning to carry water? She looked calmly into the distance, perhaps thinking of her husband who was toiling in the field or the children playing in the village, perhaps she was remembering the secret of a moon hanging in the treetops outside the small window last night.
Appreciation of Miller, the most beloved painter of France's working people, "The Young Shepherd"
Appreciation of Miller's "Young Shepherd"
Miller, the most beloved painter of France's working people, "Collecting Firewood in Winter" appreciation
Appreciation of Miller's "Collecting Firewood in Winter"
Miller, the most beloved painter in France, "Harvest potatoes" appreciation
Miller's "Harvest potatoes" works appreciation,
Miller, the most beloved painter of France's working people, "Normandy Milking Women" appreciation
Appreciation of Miller's "Normandy Milking Women".
The most beloved painter in France, Miller," is admiring the "Woman Who Hangs Clothes"
Appreciation of Miller's "The Woman Who Dried clothes".
Appreciation of Miller's "Peasant Family", the most beloved painter in France
Appreciation of Miller's "Peasant Family" works
Appreciation of Miller's Sleeping Tailor, france's most beloved painter among working people
Appreciation of Miller's "Sleeping Seamstress".
The most beloved painter in France, Miller," was an appreciation of the Spinning Woman
Appreciation of Miller's "Spinning Woman"
Appreciation of Miller's "Laundry Woman", the most beloved painter in France
Appreciation of Miller's "Laundry Woman" works. Is this a small river in autumn? Three washerwomen wash their summer clothes by the river. The three washerwomen in the painting have different postures, one on the right with a reddish-brown silk scarf wrapped around her head, a white blouse with a dark green shoulder, and a skirt on the lower body that is gray-brown. With her left hand, she pressed her clothes in the river and her right hand pressed against a maroon plank.
The washerwoman in the middle crouched on the riverbank in an inky black dress, pressing her clothes against the stones by the river with one hand and lifting the washing board in the air with the other. The washerwoman on the left was bending over to wash a gray sheet in the small river, and the brown skirt and white blouse lined a gray silk scarf on her head, making her lie down by the river and wash it vigorously.
The washed clothes on the wooden shelves by the small river were waiting for the sun to shine, all this was silently watched by the trunks on the riverbank, when a flock of geese ran out of the woods, the three engrossed washers did not see, and a farmer who returned to the village with a wooden fork saw it, and the red dress on his body made the goose flock eagerly pounce on the river that foraged for water and grass.
Appreciation of Miller, the most beloved painter of France's working people, "Young Seamstress"
Appreciation of Miller's "Young Tailor"
Miller, the most beloved painter in France, appreciates "The Woman Who Makes Textiles"
Miller's Woman Who Made Textiles, Height: 45.2 cm (17.8 in.), Width: 32.5 cm (12.8 in.), circa 1850 –1855, Collection of the Museum of Fine Arts, Boston, USA.
The most beloved painter in France, Miller, "The Peasant Woman Who Poured Milk" appreciation
Miller's "Peasant Woman Pouring Milk", height: 39.37 cm (15.5 in), width: 33.02 cm (13 in), oil on canvas,
Appreciation of Miller, france's most beloved painter of working people, "The Sawmill Worker"
Miller's Sawmiller height: 57 cm (22.44 inches), width: 81 cm (31.89 inches), London - Victoria and Albert Museum collection. Created 1850 – 1852.
Miller, the most beloved painter of France's working people, "The Sheepfold in the Moonlight"
Miller's "Sheepfold in the Moonlight" This painting Of the sheepfold under the moonlight in the night sky is mysterious and peaceful and vast, a golden moon has risen from the east of the horizon, and its radiating golden light is illuminating the clouds roaming in the sky. Silhouettes of distant villages and hazy woodcuts of trees immerse the dream of that moon in a poetic wilderness.
Walking silently in the night, pushing the moonlight of the sheep meadow to the center of the painting. At this moment, the sheep whose belly was full of grass had been driven into his fence by the shepherd, and in the face of the melting moon on the grass, the cries of the sheep had long ceased, and the little lambs were snuggled up next to the ewe. The fence blocked the wind and the cold of the night, while the shepherd and his sheepdog still stood in the fence counting the number of sheep.
Now it was time for the shepherd to go to his dinner, for a wooden hut on the right side of the fence had been sitting there for a long time. It knew that the shepherd would light a bunch of burning campfires to cook rice and drive away mosquitoes and flies, to drive away the cold and loneliness of the night. When the moon is in the middle of the day, the shepherd will be in the cabin and his sheepdog will enter a sleep at the moonlight vigil.
Appreciation of Miller's "Nap", the most beloved painter in France
Miller's "Nap" this painting may be too tired for the Middle-aged Couple in France, and the two are sleeping in the noon sun in a casual posture. Their heads were resting on the new wheat stacks with the aroma of wheat, the man was dressed in a pair of blue cargo pants, bare feet and hands resting on his head, the two shoes on the left side of the body were also filled with a kind of survival hardship, and a pair of curved scythes could finally rest their blades.
And the brown straw hat obscured the expression on the man's face, making it impossible to see whether his dream had entered the middle of a month's night. The woman lay down beside the man, her face wrapped around her face in her arms, lying on the wheat bale so that her emotions could be closer to his man. Time is passing, and the wheat that has been harvested is sleeping.
Another wheat straw stack in the distance was contemplating a hot painting, and the two cows next to a large cart were eating wheat to the fullest, and this summer was the most bitter season for their labor, and eating some wheat to replenish their physical strength God would also pretend not to see.
Appreciation of Miller's "Sleeping Child", the most beloved painter in France
Miller's Sleeping Child Is an idyllic farmhouse in the countryside of northern France, with bright windows and a basket of grape fruit on the windowsill. The wooden furniture in the house is simple and simple, and the whole picture is presented in a purple-red hue.
A mother sat on a wooden chair on the right side of the window, her head wrapped in a pale green silk scarf, dressed in a thick dark black robe, and she was intently sewing a cotton jacket for her baby for the winter. The mother has a crib in front of her feet, and her child is asleep, and the purple color of the quilt covering the baby's body reflects the cloth cover at the head of the bed on the left, obscuring the dazzling light coming in from the window, making the child sleep in a peaceful dream.
The scattered strips of cloth cut by the mother were silent on the floor, immersing the young mother in the poetry of poverty and happiness. Maybe it was an autumn morning? Through the open window on the left, the owner of the farmhouse could be seen working under a tree in his own house, and at this moment, the thick canopy covered a straw hat on his head, and his figure of labor seemed to be dyed green by the lushness of the tree.
Miller discovered the poetry of ordinary laborers. However, the farmers he writes about are not Adam and Eve in heaven, they are tired, poor, all-day laborers, dressed in sills, dark skin, a towering body, thick palms, this is Miller's aesthetic, this is the image of the French peasant whom Miller wants to praise and praise with all his heart. As Romain Rolland said, "They work day after day to nurture this great nation, they work day after day to create this beautiful nation." ”。