Details
JEAN-FRANÇOIS MILLET (GRUCHY 1814-1875 BARBIZON)
Mère et enfant avec une vache
graphite, plume et encre brune
18,4 x 26,8 cm (7 1/4 x 10 1/2 in.) ; on joint un billet autographe du neveu de l'artiste: ‘Cher ami,/ Voici le croquis promis. Il est de la main/ de mon oncle & parrain J-F. Millet/ Bien d'amitié./ [...] Millet./ 9 juin 1940.’
Provenance
Tampon d’atelier de l'artiste (L. 3728).
Vente Hôtel Drouot, Paris, 19 décembre 2001, lot 135.
Post lot text
JEAN-FRANÇOIS MILLET MOTHER AND CHILD WITH A COW, GRAPHITE, PEN AND BROWN INK
The present drawing can be dated to the 1850s, the period of Millet’s ‘rustic style’, according to Chantal Georgel (Millet, Paris, 2014, pp. 257-261). It is part of a series of works representing a woman grazing her cow, the most characteristic of which was exhibited at the Salon of 1859 (Musée de l’Ain, Bourg-en-Bresse; see Georgel, op. cit., p. 245). In 1855, the critic and poet Théophile Gaultier wrote that Millet ‘understands the intimate poetry of the fields: he loves the peasants he represents, and in their resigned figures expresses his sympathy for them’ (G. Lacambre and L. Lepoittevin, Jean-François Millet Au-delà de l’Angélus, Paris, 2002, p. 257).
Details
JEAN-FRANÇOIS MILLET (GRUCHY 1814-1875 BARBIZON)
Mère et enfant avec une vache
graphite, plume et encre brune
18,4 x 26,8 cm (7 1/4 x 10 1/2 in.) ; on joint un billet autographe du neveu de l'artiste: ‘Cher ami,/ Voici le croquis promis. Il est de la main/ de mon oncle & parrain J-F. Millet/ Bien d'amitié./ [...] Millet./ 9 juin 1940.’
Provenance
Tampon d’atelier de l'artiste (L. 3728).
Vente Hôtel Drouot, Paris, 19 décembre 2001, lot 135.
Post lot text
JEAN-FRANÇOIS MILLET MOTHER AND CHILD WITH A COW, GRAPHITE, PEN AND BROWN INK
The present drawing can be dated to the 1850s, the period of Millet’s ‘rustic style’, according to Chantal Georgel (Millet, Paris, 2014, pp. 257-261). It is part of a series of works representing a woman grazing her cow, the most characteristic of which was exhibited at the Salon of 1859 (Musée de l’Ain, Bourg-en-Bresse; see Georgel, op. cit., p. 245). In 1855, the critic and poet Théophile Gaultier wrote that Millet ‘understands the intimate poetry of the fields: he loves the peasants he represents, and in their resigned figures expresses his sympathy for them’ (G. Lacambre and L. Lepoittevin, Jean-François Millet Au-delà de l’Angélus, Paris, 2002, p. 257).
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