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France Embraces Millet: The Intertwined Fates of "The Gleaners" and "The Angelus"
The Art Bulletin
Vol. 85, No. 4 (Dec., 2003), pp. 685-701
Published by: College Art Association
Stable URL: http://www.jstor.org/stable/3177365
Page Count: 17
You can always find the topics here!Topics: Millet, Crop gleaning, Art exhibitions, Modern art, Modernist art, Peasant class, Arts, Art museums, Art dealing, Avant garde
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Jean-François Millet's two most celebrated paintings of peasant life, "The Gleaners" and "The Angelus", debuted in the late 1850s to hostility and obscurity respectively, and both paintings initially commanded low sale prices. They have contributed to the artist's reputation as a marginalized avant-garde Realist painter. This essay traces the shift in Millet's reputation through these two paintings during the early Third Republic (1871-91), arguing that their unprecedented celebrity demonstrates his successful insertion into a campaign to construct a republican cultural legacy for the nation. It is a case study of the institutional embrace of socially critical paintings and their maker.
The Art Bulletin © 2003 College Art Association