Jean Frasua Mill. Jean Francois Mill Jean Francois Mill Peasant Family
Mill, along with Kursbe, was one of the founders of realism of the middle of the XIX century in France.
Jean Francois Mill was born on October 4, 1814 in the village of Grush, in Normandy. He grew up in the patriarchal peasant family and since childhood he learned the peasant labor. Since 1833, Mill has been engaged in the artist Mushel in Sherbour. The classes of the young artist were interrupted by the death of the Father in 1835. Mille was supposed to return to the village, to become the head of the family and start chairs again. However, the relatives insisted on the continuation of classes. Mille's second teacher was Langulua, a student Gro, also a Cherbourg artist. Langlua overthrew Mill subsidy from the city, and in early 1837, Francois goes to Paris.
Mille enters the workshop to Delasch, participates in the competition for the Roman Prize, but does not receive it. Then he is engaged in the Academy of Lesu. After a while he returns to his homeland, and then he again comes to Paris.
Mill did not immediately find his way in art. Initially, he writes for sale paintings in the spirit of Bush and even appears with them in the 1844 salon. However, at the same time, we encounter serious, expressive portraits. Mill's creativity is finalized by 1848 under the influence of liberation ideas that covered wide circles of artists and critics. In 1848, Mille exposes a "mediator", and in 1849 he settles the Fontainebleau forest, in the village of Barbizon, where he lives all the time until his death (1875), occasionally leaving her homeland. The peasant theme is firmly included in Mill's creativity, starting from the salons of 1850- 1851, where his "sower" and "knitters of sheafs" (Paris, Louvre) appeared. Mill knew the peasant life well. He did not idealize the peasants, but managed to express in their ordinary, thoughtful poses, the greatness, in their calmly miser gestures - solemnity; He managed to raise the most prosaic work. In the late 40s - early 50s, he creates generalized images of lonely peasants, full sadness and thoughtfulness: "seamstress" (1853, Paris, Louvre), "Sitting Peasant" (1849, Boston, Museum), "Woman with a cow "(Bur-An-Bres, Museum).
The trend towards monumental forms is especially noticeable in such a picture with the figures in a natural value as "shearing sheep" (1860).
Mille contemporaries felt his jagu to the sublime, heroic style. No wonder the Teof Gauthier in 1855 he spoke about Mill's proximity to antiquity, that the melancholic memories of Vergilia trembles under the dark paint.
Mille wrote and landscapes, but they are almost always connected with the life of the peasants, the rod in the works of Mill is most often just as bad, like the work of the peasant, who earns his bread "in the sweat of his face."
Optimistic notes are more likely to sound in its later works, where more attention is paid to lighting. About his mouth is evidenced by his works as "young shepherd" (1872, Boston, Museum) or "Cleaning buckwheat" (1869-1874, ibid.)
Mille was not a writer, he hardly expressed his thoughts, he was not a theorist. His letters and notes to some extent only summarize his creative experience, but they help us understand his own attitude towards the real world, to man, to nature, to understand what tasks he put in front of him in art. His statements, like all the work, are aimed at combating academic convention. He opposes imitativeness, calls on behalf of his observations, his impressions of nature. But Mille is far from following the slave to follow nature, he demands from the artist of individual perception and individual embodiment, defends his right to generalize and comprehend the actual world. The artist must show his attitude to the depicted. However, in one he contradicts himself: objectively his works always had a certain social sense, it was not for nothing that he set himself next to the Kourba. But at the same time, he protested when he was considered a socialist or called the artist, more dangerous to Kourba, and he refused to take part in the Federation of Artists during the Paris Commune.
Found from the people, Jean-Francois Mill is considered to be the largest representative of a truly folk genre in the art of France of the XIX century.
The artist was born on the coast of La Mans near Greville, in the Norman village of Grush, in a wealthy peasant family. Since childhood, a prisoner to rural labor, Jean-Francois was able to study painting only from eighteen years old in the near city of Sherbur at Muesl, a student of David, and then from Langulu de Shevraille, a student Gro.
In 1837, thanks to a modest scholarship, appointed by the Sherbur's municipality, Millus starts studying in the Paris School of Fine Arts at the most historical painter Decoše. But academic business and Paris with his noise and bustle is equally shyling Mill's accustomed to the rural protrusion. Only Louvre was represented by him, on his own recognition, "Saving Island" in the middle of the city, which seemed a recent peasant "black, dirty, punched". "Saved" the loved works of Manteny, Michelangelo and Poussin, in front of which he felt "as in his native family," whereas from modern artists attracted one Delacan.
To find your own face in the early 40s, Mill helps a few close people performed in a modest discreet range, which marked the beginning of his in-depth comprehension of peasantics and characters.
In the second half of the 40s, Mille inspires communication with the house and barbizons, especially the theodore of Rousseau. But the main border for the artist's creativity was the revolution of 1848 - that year, when his picture "The mediator" was put up in the salon, perceived as a creative declaration.
In the summer of 1849, Mille leaves Paris forever for the sake of Barbizon, and here, surrounded by a large family, begins to cultivate the land in the literal and figurative sense: it works in the field in the morning, and in the morning, it writes pictures from farmers in the workshop, where scattered peasant things are adjacent to the masterpieces Parfenon. "Bogatyr from Pahar" (Rolland) was he a recognized erudite in all that there was an epic bucolic poetry since Homer, Vergil, Feokritis, a fan of Hugo and Shakespeare, as well as the philosophy of Montenex and Pascal. But Her "Homeric" Heroes Mill is looking for in everyday life, distinguishing in the most invisible workers "True Humanity". "With the risk of signing the socialist," he is taken for unpopular and little proclaimed paintings by the painters of work. Indifferent to details, plots their painter usually performs in memory, producing strict selection and bring together all the heterogeneity of living observations. Through expressive, almost sculptural lighting, the shape of people with large abused masses, and the restrained power of muffled color, he seeks to achieve a generalizing typing of heroes in confidence that it is a collective "type there is the deepest truth in art."
Typiization of Mill is widelywatched - from the typical genuineness of the professional gesture of pagarlers, pins, woodcutters before the expression of the highest poetry of labor. This is not just a job, but lots, fate, moreover, in the dramatic aspect, it is like eternal overcoming and struggle - with circumstances, with, with earth. The special greatness overcoming Millo opens in the dominant rhythms of the peasant and withdraws from here a completely special spirituality of a person of physical labor.
The most fully wizard expressed her in the picture "Sewer", hitting the visitors of the Salon of 1851. In a figure that dominates the endless space of fields, the generalization of the eternal martial arts and communication of a person with the land is brought by the author to a high symbol. From now on, each picture Mill is accepted as a social event.
So, "collectors of the coal" caused a greater critical storm in the 1857 salon. In their magnitude slowed down bourgeois, not without reason, they suspected the threat to the usual `stacked, although Mill's creativity is familiar and pure tenderness, especially in female images. In the "Owlnskaya shepherd", "Priya", "picking oil" he exalted the most modest home work, and in the "feeding of chicks" and "first steps" hends the joys of motherhood, not going to sentimentality. In `Wood vaccination` (1855) Mill connects the topic of a child with escape in a single hope for the future. The naturalness of their peasants and the surrounding nature, the purity of their life Mill consciously opposed the moral degradation of the highest estates of the second empire.
In a pair of tired peasants from "Angela" (1859), Millo opens the subtlety of the soul, indestructible need for a beautiful, thawed under the crust of the usual boom. But the formidable power of a sullen "man with a hoe" is already something completely different, frightening the criticism of the interior of 1863. In the figure is no less monolithic than the "sower", an increasing anger is felt behind the infinite fatigue. "Man with a hoe" and "Recreation of Vinogradar" - the most tragic heroes Mill - images of crushed, focusing the motives of a natural social protest on the verge of an explosion.
From the mid-60s, Mill often writes landscapes, in which it seeks to express the eternal unity of a person with nature, always lovingly noting the touch everywhere, a trace of a person - be it left on the harrow of the harrow or just sour cream stacks. Behind the external clumsiness of the silhouette of a squat, as if in the land of "Churches in Grush", patient meekness is a rapidness of the heroes of "Angela", and in the landscapes like the "gust of wind", as if the same indomitance of the element is breaking through, which slept in its rebel and farms.
In the 70s, Mill ceases to exhibit in the cabin, however, it grows well. Held solitude wizard is increasingly disturbing visitors - collectors and just fans, even students from different countries of Europe appear. It is not in vain, leaving about life in 1875, the artist prophetic announced: "My business has not yet been done. It barely begins. "
He brought the peasant theme from the narrowness of the local ethnographism, got rid of falsehood and gloss, replacing sensitive heroic, and the narrative of the strict poetry of his generalizations. His diligent continues of the realism and authenticity of the heroes were such artists as Bastien-Lepage and Lermitt, and the Belgian constant was developed in his own way in his own way.
Mille's landscapes had a direct impact on the relaxed simplicity and Lurism of Pissarro, but he received the most innovative response in Holland in Vincent Van Gogh, who brought to the ultimate pointing of the Bunctric Spirit in the inexhaustible theme of the human martial arts.
Mill Jean Francoisa
Both classicism and romanticism were far from modern life, because they idealized the past and mainly depicted plots from a long time.
In the middle of the 19th century, the leading place in the art of France took the direction of realism, which was most interested in modernity, the daily life of ordinary people. Realists sought to transmit real people, nature - without distortion and embellishment. At the same time, they reflected, of course, the vices of modern life, trying to help eliminate and correction. Such a critical direction in art is customary to call critical realism, whose flourishing belongs to the 2nd half of the 19th century.
Realism in French painting declared himself primarily in the landscape of the artists of the so-called "barbizon group", called from the barbizon village near Paris, where artists lived for a long time and wrote.
At one time I lived in Barbizon Jean Francois Mill, a very famous French artist - realist. He was born in the peasant environment and forever retained the connection with the Earth. The Peasant World is the main genre of Mill. But the artist came to him not immediately. From his native Normandy in 1837 and in 1844 came to Paris, where he acquired glory by portraits and small paintings on biblical and antique plots. However, Mill has developed as the Master of the Peasant Topics in the 40s, when he came to Barbizon and became close to the artists of this school.
From this time, the mature period of Mill's creativity begins. His hero from now on and until the end of his creative days the peasant becomes. A similar choice of the hero and the theme responded little to the tastes of the bourgeois public, so Mill's whole life endured material need, but did not change the topic. In small pictures, Mille created a generalized monumental image of the earth worker ("Sower" 1850). He showed rural labor as a natural state of a person as the form of his being. In the work manifests a connection of a person with nature, which enlisters it. Human labor multiplies life on Earth. This idea is permeated with the paintings "Collector of Kolosheev", 1857, "Angela", 1859.
Mille's painting is characterized by limiting laconicism, the selection of the main thing that allows us to transfer the universal meaning in the simplest, everyday paintings of everyday life. Millus achieves the impression of the solemn simplicity of calm peace work with the help of the volume of the image and the smooth color scheme.
Most of Mill's works permeated with a sense of high humanity, peace, peace.
The truthful and honest art of Mill, glorifying the man of labor, laid the way for the further development of this topic in the art of the second half of the 19th century.
Boiler (1853-54)
"Angela" (evening prayer)
We have a descending evening, the last rays of the setting sun illuminate the figures of the peasant and his wives who have thrown to the moment work with the sounds of evening angel. The muffled color scheme is made up of soft, harmoniously composed of reddish-brown, gray, blue, almost blue and lilac tones. Dark silhouettes of figures with adopted heads, clearly released over the horizon line, even more enhance the epic sound of the composition. "Angela" is not just an evening prayer, it is a prayer for the dead, for all those who worked on this earth.
Man with hoe
Unlike the images of high humanity, peace, peace, before us, another image - here the artist expressed marginal fatigue, sacrifice, exhaustion with severe physical labor, but managed and show the huge dormant forces of worker-giggle.
Collaborators (1857)
The most famous work of Mill. This is a sad picture of poverty and sad work. On the sun's light evening rays, the field ends the harvest. Golden sparkles assembled in the shock, not yet taken from the field of bread. Bread fill the large cart to take it into the current. All this picture, full of gold bread, has just compressed field, creates a mood of peace and rest. And, as if in the contrast with this satisfaction and peace, in the foreground of the picture shows the figures of three women, collecting rare, the remaining spikes on the compressed field, to nourish them at least a handful of flour. Their naked backs are bubbling, the fire fingers with difficulty capture thin, fragile spikelets. The clumsy clothing hides the age, it seems, grave work and need comesparable and young, and old. The artist uses a wide range of paints in the painting - from golden brown to reddish-green.
Peasant woman, tie cow (1859)
Relaxation
Peasant with wheelbarrow
Peasants with a twig
Maternal concern (1854-1857)
Young woman (1845)
Night Hunt for Birds (1874)
Dandelions. Pastel.
Cinema geese (1863)
Cowgirl with his herd (1863)
Landscape of the Italian coast (1670)
Landscape with Christ and his students
Pins in the forest
Hide Holiday (1866)
Planting potatoes
Straights on the river
Vaccination of wood
Rural farm tour
Sewer (1850)
Death and Lesorb (1859)
Wash
Calf born in the field
LESSON OF KEYSHIANY
Spring Jumping Earth
Whipging Oil (1866-1868)
Preparation of twigs
Woman bake bread
Jean Francois Mill
Art is not a walk, it is a struggle, it is a fight.
Jean Francois Mill
In the world of art there are masters who have a striking property to embody their love or hatred, commitment to their time or its denial is in surprisingly brightly disconnected, an unusually vividly perceived series of plastic images. These artists are charging us and take captivity immediately and forever, as soon as we begin to study their work, peering into their canvases, listen to the music of their paintings.
Mysterious world of Rembrandt. Coming the ghost light. Flicker shadows. Golden twilight reigns. We climbed fascinated. Aman, Esphyr, Dana, the Prodigal Son - not the ghostly faces of distant legends and myths, live, living people who are crap, loving. In the darkness glitter, the precious stones are sparkling, gold luxury decoration, and nearby, next to this fussy magnificence - dilapidated rubs of the beggars and old women, ancient and wise. To meet us the night watch. Sparkle armor. Rings weapons. Rustle priceless lace. Silk rustle. But it does not affect us in the canvases of Rembrandt Wang Raina. Himself man, great and insignificant, gentle and cruel, honest and cunning, to us before us ...
In a moment, we fly in the abyss. Goya. Furious, fierce WMIG seizes our soul. Black night sky. Next to us are rushing and tumbling with laughter and squeal of witches and gaps - visions created by the author "Caprician". Spain. Reversal bulls. Scream wounded horses. Spark over the eyes of seductive max. The degenerative kings and princes are smiling smiling. Weapons of weapons volley, and the best of her sons fall on Earth. And all this is Goya! Just Goya!
We are slowly marching by sweet snoring, frantic brushes of Peter Breygel's brushes and zirim far, promised and wondrous country lazy. And suddenly we shudder when approaching us with screams and moans, raging with the keys, by making, stumbling and falling, a string of ominous and poor blinders, reminding about the fragility of the world. A minute later we are surrounded and picked up by the hands of the Redheads. We are circling in the dance whirlwind and dance to fall on the square of the stranger to us. We are horrified, and we feel the chilling breath of death. This is a Bruegel. Peter Bruegel is a magician and sorcerer.
Plowless plowed field. Morning. Hear how silence sounds. We touch the influence of the Earth and the sky. A young giant grows in front of us. He slowly walks, spreading gold - wheat grain wide. Serendantly breathes the Earth, wet from dew. This is the world of Jean Francois Mill ... Trying to catch up with the sower, but it goes ahead. I hear the measuring knock of his mighty heart. A moment - and we are delirious in the shady, cool forest. Listen to the conversation of trees. Cod of twigs, crossing wooden sabo. And again we are in the field. Golden Stern. Dust Marene. Heat. High in the zenith sings the larks. Skird, Skird. Harvest. I suffocate from the heat, we pour out later, collecting spikelets along with the harsh peasants, bronze from the sun. Mill! It he sacred heavy and unbearable peasant labor. It he left generously and forever all the music of the morning and evening dawn, multitrid a rainbow, freshness of flowering. All unusual ordinary.
Rembrandt, Bruegel, Goya, Mill. Artists endlessly disliked. But the art of each of them, as, however, and many other great masters, entered our souls. And, often watching the phenomena of today's life, we immediately remember their web and mentally exclaim: just like in the picture of Leonardo or Rembrandt, Surikova or Mille! So much entered our flesh and blood these wonderful worlds born in the horn of human passions. After all, the painters created these images were just people with all their concerns and joy. Before the years have passed since the birth of their canvas. But they live. True, hardly anyone will see the victim of the flight of Goyyev's witches or fantastic Liquors of Breyghelevsky insight. Long ago, the world was left from us, created by Leonardo, Surikov or Mill.
Peter Bruegel. Peasant dance.
But we are convinced, deeply convinced of the artistic truth of their paintings. Faith of these masters in the greatness of the human spirit, in a person is transferred to us, and we learn to understand our today's complex, complex, complex world ...
Let us turn to one of these wonderful masters - Jean Francois Mill. Artist sincerely, pure, honest. His life was a feat.
Not everyone imagines the true lot of many outstanding French painters of the last century. We sometimes own some lightweight ideas about their almost pink fate. Maybe the wake-up, festive, full joy of the word - attic, Montmartre, Barbizon, Plenuer - obscure the wrong poverty from us, hunger, despair, loneliness, who experienced such excellent masters of the XIX century, like Rousseau, Mille, Trina, Dean, Monet, Sisley. But the closer we get acquainted with their biographies, all the more concern, the tragic struggle of each of these masters appears. With non-recognition, adversity, with hoolo and wearing. After all, only a few, and it is too late, achieved fame. But back to Mill.
It all started pretty trite. In one of the January days of 1837, Diligence, bulging on a cobblestone, drove into black from the soot and soot Paris. Then the fashionable term "I could," did not exist, did not exist from thousands of cars, but the dirty, gray, penetrating fog, saturated by stench, roar, noise, sustained the young peasant guy, accustomed to the clear, transparent air of Normandy and silence. Jean Francois Mill stepped on the Earth of this "New Babylon". He was twenty-two years old. He is full of hope, forces and ... doubt. Mille joined thousands of provinces who arrived here to conquer the place under the sun. But Jean Francois is not at all like the bold heroes of Romans Onor de Balzak, who had seen Paris in advance. The young artist was rarely shy. His spiritual world was blown up by the spectacle of the night city. Damagious orange light of street lamps. Rolling purple shadows on slippery sidewalks. Gray, penetrating the flowering fog. Boiling lava people, crews, horses. Narrow street gorges. Energly stall smells tested the breath of the resident of the Department of L and Mans, brought up by the sea. Jean Francois with some desperate sharpness remembered the small village of Grush, the native home, the wild charm of the surf, the buzz of the strands, the singing of cricket, wise instructions of the beloved grandmother Louise Zhemelen. The sobs approached his throat, and the future artist broke out right on the Paris pavement.
"I tried to overcome my feelings," Mill told, "but he could not, it was above my strength. I managed to keep the tears only after I buried the hands of water from the street fountain and poured myself a face. "
The young man began to look for an overnight stay. Evening city grudge grumbled. The last scarlet rays of the dawn painted the pipes of dark louds of houses. Tuman mastered Paris. Saturday. Everyone rushed somewhere broken her head. Mille was timing without a measure. He shy to ask the address of the hotel and wandered until midnight. You can imagine how much "genre" he could see on the Saturday panels. He had a surprisingly sharp, all memorial eye. He was good, this Jean Francois. High, bearded, strong, with bull neck and loader shoulders from Cherbour. But he had one only heavy feature - a gentle, easily expanded soul, sensitive, clean. Otherwise, he would probably not be the great Mill, who is proud of France today. We emphasize the word "today", for he will spend almost all his life in the unknown. And here Jean wanders on the night Paris. Finally he found furnished rooms. Later Mille recalled:
"Which nightmares pursued me all this first night. My room turned out to be a smelly hole, where the sun did not penetrate. I barely dawned, I jumped out of my Logov and rushed into the air. "
Fog scattered. The city, as if was washed, glistened in the rays of dawn. The streets were still deserted. Lonely phiker. Wipers. Silence. In the frosty sky - Raven cloud. Jean went to the embankment. Above the twin towers, Notre Dame hung a bugger sun. Site Island, like an Ostroud ship, sailed in heavy, lead waves of the Seine. Suddenly, Jean François shuddered. A bearded man slept next to him on the bench. The scarlet rays of the Sun touched the tired, pale, exhausted face, slid along a broken dress, broken shoes. Mill stopped. Some kind of painful, unknown led the feeling embraced it. He had previously seen the vagrants, beggars, descended, dirty and drunk. It was something else. Here, in the heart of Paris, next to the Cathedral of the Parisian Mother of God, especially cruel it seemed to humiliate a person, still young, full forces, but something unlike the city ... I instantly flashed the thought: "But this could be." Passing under the dark arches of the bridge, Jean Francois saw several more unfortunate men and women who had slept. He finally understood that Paris is not always a holiday. If he knew that after a decade after stubborn study, labor and noticeable success in art, he would still stand on the threshold of the same hopeless need, unpleasuries, collapse of all hopes! All this was hidden from a novice artist. But the meeting left a severe sediment.
"So I met Paris," remembered later Mill. "I didn't curse him, but I was covered by horror because I didn't understand anything in his life, nor in spiritual being."
Paris. The first alarms came, and care, and sadness. Yes, sadness that did not leave him for one day, even in the happiest moments.
"Full! - Exclaim the reader. - Yes, young Mill, obviously, was a complete melancholic and Misanthropom! "
The fact is that educated in the Puritan spirit, in the patriarchal peasant family, the young man could not accept the Paris Lifestyle.
In those days, people still use the word "incompatibility", science has not yet determined the important place of this concept in biology, in medicine, in a person's life.
Obviously, young Mille gave us one of the vivid examples of this incompatibility.
He still has a lot to survive and rearrange in Paris. It is impossible to say that he did not have blond minutes at all. But there were little to horror.
"I do not curse Paris." In these words, all Mill. Noble, open, devoid of angration or revenge. Twelve years will have to live in this city. He walked here a big life school ...
He studied painting with a chic, but empty deducer - king of salons, who spoke about Mille:
"You are not like everyone else like everyone else."
But noting the very liberal and firm will of the student, Deryraza added that a "iron stick" needed a recalcitrant Mill.
Peasants with a rush.
Here one of the main features of the character of a novice painter is hidden - an uncomprising will, who perfectly got along with his soul with tenderness and kindness.
Mill from the earliest steps in art did not take lies, theatrical, well-minded salonity. He said:
"Bush just Seldon."
About Watto The artist wrote, ironizing the characterness of the characters of his canvases, all these marquis, tonkonogi and subtitle, tightly tight corsets, bloodless from holidays and balls:
"They resemble me dolls, buried and vibrant. And as soon as the presentation is completed, all this brotherhood is swam in the box, and there it will mourn its destiny. "
His Muzhitsky Nutro did not take exquisite theatricality. Jean François still young people paked the land, mowed, cleaned bread. He knew damn it, the price of life, he loved the land and man! Therefore, he was not on the way with Decooshe, the whole school was built on a purely external vision of the world. His disciples diligently copied, painted antique sculptures, but almost none of them knew life. People's peers were tired over Jean Francois, counting a village, but they were afraid of his strength. It was strengthened by the nickname of a forest man. A young painter worked diligently and ... silent.
But the crisis was being crisis.
Mill decided to become independent. We would not be right if they did not emphasize the entire risks of this step. A poor student who does not have a corpus neither the courtyard in Paris, and the Salon Korife, the balovian of the Parisian bourgeois, the press of the "Great Maorosh" by the press.
It was a riot!
But Mille felt the power and correctness of his beliefs. He throws a master of business. The teacher is trying to return the student. But Mill is adamant. It was the continuation of the most incompatibility that, as is known, rejects a transplanted alien heart from the body. Mill Norman never could become Mill Parisian. A young artist most appreciated the personal freedom and the truth of art. Here is the motto of all his life:
"No one will make me bow! Do not make you write in favor of the Paris Living Room. The peasant I was born, a peasant and die. I will always stand on my native land and you will not give up a step. " And Mille did not retreat neither done in neither in front of the salon, nor before hunger and niche, it. But what he was worth it! Here is a scene from Mille's life, which will tell us a lot.
Attic. Morazed on a broken window, sworn paper strips. Rusty, long extinguished the stood. In front of her pile of ash on the iron sheet. Sedoynaya frost on plaster antique torsha, on piles of subframes, canvas, on cards and easel. On a large chest, where the etudes and sketches are stored, sits Mille himself. Big, chunky. He has changed very much from the day of his arrival in Paris. Face features aggravated. Eyes sprinkled deeply. The first silver threads appeared in the thick beard. Eleven years of life in Paris is not a trifle. Especially if you have your own harsh way in art, if you do not up to the thresholds of bourgeois living rooms, do not lose weight.
... quickly darkly. The oil in the lamp ended. The charred wick is only a tel, in times brightly flashed, and then on the raw walls of the studio they wandered, crawled irrigible crimson shadows. Finally, the lamp light flashed the last time. Blue twilight broke into the attic. It became completely dark. Figure of the artist, cristed from the cold, a black silhouette figure on a black silhouette on the background of painted with frost glasses. Silence. Only on the ceiling, the studio fled, the blue, purple mischievous glare were fled - Paris lights, "the most fun city of the world." Somewhere behind the walls of the studio was boiling, the fastened, the luxurious life of the bourgeois capital, sparkled restaurants, threatened the orchestras, the crews rushed. All this was so far and, however, so close ... almost near. But not for artists, I will seech, their language is the truth, do not please them; their tastes of the cabin. Sudden creaking broke sad silence.
Sign in, - almost whispered Mill.
In the workshop penetrated the beam of light. On the threshold stood San, friend of the painter. He brought a hundred francs - a manual for the artist.
Thank you, I said Mill. - It is very by the way. We have not ate anything for two days. But it's good that even though the children did not suffer, they had food all the time ... He called his wife. I'll go buy firewood, because I am very cold.
It seems that commenting this scene, drawing; by the soul of one of the great artists of France, inappropriate. In that year, Mill has already been thirty-four years old, he managed to create a number of excellent portraits, by the way, performed in the best traditions of French art. Among them, a wonderful canvas depicting a beloved grandmother Jean Francois Louise Zhemelen, so much done for the formation of the character of the future master. "Portrait of Polina Virginin It", Mill's first wife, early deceased, who did not bring serious deprivation of life in Paris, was written fine, lyrically. In the flavor, the composition, the shape of the shape feels the hand of a magnificent painter. Oh, if Mille chose a fashion portraita road! His family, he himself never knew adversity. But the career of the trendy artist was not needed was the young Jean Francois. He did not want to repeat the tragedy of the unknown Gogol Chartkova. Mille stood already on the verge of masterpieces. For this you needed another blow of fate, another test.
And it came.
... Mill had a family, children. It was necessary to somehow earn money on bread. And the young artist occasionally performed small orders for the plots from the ancient myths. Jean Francois fasten the heart wrote baubles, thinking that all these pictures are awesome in the summer and you can forget about them ... But in life nothing passes without a trace!
In one of the verses of the spring days, Mill wandered in Paris. He did not feel all the charms of spring. There were thoughts about life failures, lack of money, and most importantly, about aimless spending time for minor earnings. The longing all intensified, longing for Normandy, along the separated fields, high homeland. He saw her house, mother, grandmother, close. He wandered. March painted the city's landscape in bright, smithing colors. The azure sky overturned into turquoise puddles, for which pink, lilac clouds sailed. From the heated stones of the pavement rose trembling transparent marines. Spring gained strength. Suddenly, Jean Francois stopped at the book laurel, in the showcase of which the film lithographs were hung, sowing reproductions from paintings, decomposed books. Near the Showcase Giggles Two Elderly Men, looking at the frivolous scenes from mythology, where the fat young goddesses have fun with muscular, well-folded young gods. Mille approached closer and among the reproductions I saw my picture. She seemed to him monstrously relaxed. And to top it all heard: "This is Mill, he does not write anything but this." The son of the peasant, a native of Normandy, a master who deeply in the soul despised this sussa genre, he, Jean Francois Mill, who devoted all the heat of his heart to the peasant theme, was killed! The offended, humiliated, did not remember how he did go home.
As you like, "Mill's wife said," I will no longer be engaged in this Mazne. " We, however, will be even harder to live, and you will have to suffer, but I will be free to do what the soul has long been torn.
His faithful spouse Catherine Lemer, who divided long life, joy, adversity and deprivation with him, answered briefly:
I'm ready!
Do whatever you want…
In the life of every true artist, a minute comes when he should cross a certain invisible threshold, separating him, a young man, full illusions, hopes, high aspirations, but who has not yet said his word in art that has not yet created anything cardinal, from the moment when It gets up in all its greatness of the task - to find and give people a new beauty, not yet open by anyone, still unknown, not expressed by anyone.
At that moment, when Mille decided to starve, but not to shave his brush, by exchanged on the salon academic crafts, the very "Dante of the villagers", "Michelangelo Men", who today knows the whole world.
As important as an hour of decision to have a number of man, ready to go with you to the feat. How many talents, talents, weaker in nature, found themselves death in love their dear spouse to golden baubles, fursing and all those infinitely caressing alone trifles, which are included in the banal concept of "secular life"!
Mill was not alone. In addition to the faithful, devotee and intelligent wife, the daughter of a simple worker from Sherbour - next to him were always his advisers, great artists of the past. In the most bitter, it seemed, the hopeless minutes of Parisian Being existed a house in which Mill had always found a good advice and could relax my heart and soul. It was a Louvre. Starting from the very first days of staying in Paris, the brightest clock in the life of the young Jean Francois was communicating with the great masters of the past, with their art.
"It seemed to me," said Mill about the Louvre, - that I am in a long familiar country, in my native family, where everything I watched, appeared in front of me as a reality of my visions. "
The young artist deeply felt the great simplicity and plastic of Italian artists of the XV century. But the most young painter shook the groves, who possessed the unsurpassed hand of the brush and the tragic temperament. Jean Francois told that such painters, like grinding, possess incomparable power. They seem to be thrown into the face of joy and sorrows, which they are filled. "There were minutes when I, looking at Marten's martyrs, felt the arrows of Saint Sebastian entered into my body. Such masters have a magical power. "
But, of course, the true deity for the young master was a High Renaissance Giant Michelangelo. Here are the words in which all his love is reflected, all the worship of the Genius of Buonaroti:
"When I saw a picture of Michelangelo," he said, "the man depicting a person in fainting, the outlines of these relaxed muscles, the depressions and reliefs of this person, sacrificed from bodily suffering, caused me a strange feeling. I myself experienced his sufferings. I regretted him. I suffered in his body and felt pain in his members ... I understood, "continued Mill, - that the one who created it is able to embody everything and all the evil of mankind in a single figure. It was Michelangelo. Name this name - it means to say everything. For a long time, still in Cherbur, I saw a few of his weak engravings, but now I heard the heartbeat and the voice of this person, whose ingredient power on myself I felt my whole life. "
Maybe someone will seem strange such "neurasthenicness", such an extraordinary sensitivity of a guy who has blooming health and an outstanding force, a person with a mighty hand of a pahahar and a child's soul. But, maybe in this highest spirituality and was the psychological impulse, which spawned the phenomenon, whose name is Jean Francois Mill.
This does not mean that a young master was inherent at least some infantality at least on the iota. Listen to what he talks about the process of creating a picture and about French artist Poussin:
"The picture must first create in the mind. The artist cannot make it so that she immediately grew by him alive on the canvas, - he cautiously, one after another, removes the covers that they hide. " But this is almost the words of Poussa: "Mentally I have already seen her in front of myself, and this is the main thing!"
Fishing birds with a torch.
It was greatly influenced by the process of disturbing the young talent of such outstanding masters of world art, like Michelangelo, Manteny, Pussen. Their invisible help has accomplished a true miracle. A rural guy, the provincial, who studied in the workshop of the Banalny Decoral, having experienced the spells of the Paris Academic and Salon Painting, still survived and found the strength to create paintings, who conquered in the end and the Salon, and his adepts - "yellow" journalists and newsmers. From the first steps, Mille's art was inherent in the artist's high sense of responsibility. Listen to his words:
"The beauty is not that and as depicted in the picture, and in the articulous artist of the need to portray seen. This necessity itself generates strength required to fulfill the task. "
"Furious necessity" is the highest civinity, the purity of the spiritual impulse, the honesty of the heart, which helped Mill to be faithful truth of art. Mill has repeatedly spoke with a feeling of bitterness:
"Art of us is just a decoration, living room decoration, whereas in ancient, and even in the Middle Ages, it was a pillar of society, his conscience ..."
"Conscience of society." Everything could be said about the Paris Salon: a great, brilliant, dazzling, grandiose. But, alas, the salon art did not have conscience. This creativity was gorgeous, sparkling, silent, if you want, even a virtuoso, but the short word "PR A V A" was not here.
Paris Salon lied!
He spoke to a lie in huge, seeded Mahina with magnificent decorations, against the background of which they gestrated and recited the heroes of the myths - gods and goddesses, helmets, the Roman emperors, the Lord of the Ancient East. The fictional, walled, fake were blowing muscles, spectacular drapery, angles, fire streams and blood in endless vakhanalia and battles created by salon cylinder.
Seductive landsans depicted happy citizens of France - the country of fun and joy. But the full and debral, jealous landscapes and landscapes, who played the unwitting genre scenes "from rural life, were also at least a fairy tale - so far there were those lacquered cans from life. This artistic, lakie, empty and vulgar, filled the walls of the cabin. In the air of the parking lot, the aroma of spirits, powders, Fimiam, Ladan.
And suddenly the fresh wind of the fields broke into the atmosphere of this incense, the aroma of meadows, the strong smell of the Men's sweat. Mill appeared in the cabin. It was a scandal!
But before telling about the battles of Jean Francois Mill with the Paris Salon, I want to figure out who had to have such a cluster of vulgarity and bellows. Why was it necessary to have a salon and it was without end, replacing fashionable lords - lions of secular living rooms, cornea of \u200b\u200bthe venice. The great Jean Jacques Rousseau answered this question.
"The state trucks are always glad to disseminate among their subjects to delivering only pleasant entertainment to the arts ... In this way they are brought up in soulful petties, so comfortable for slavery."
Painting of the Paris Salon, despite the large-informity of the canvas and the roar of enchanting compositions, fully corresponded to "education in subject matter of petties." No less contributed to the infinite canvas with nude and semi-subsided nymphs, shepherds, goddesses and just swimsters. The Parisian public of the salon - small bourgeois, Meshan - quite satisfied with such a masquerade, replacing life. And the public has shown. In the air of the salon prevented a decency, wellness and some comionalness, but sometimes this atmosphere exploded by artists-innovators - Zhriko, Delacroix, Kurba ... Jean Francois Mill was also exploded among the perturbations of public peace.
Prepare at least a multiple, infective, squeezing and stuffy, the public of the Paris Salon of the second half of the last century. The huge halls of this "art sanctuary" are naked to the failure to dozens, hundreds of cloths. The moans of the first Christians, clanging the swords of gladiators, the roar of the biblical flood, the sweet melodies of the shepherds are pushed from the walls of the salon. What only the tricks of coloring, such puzzles, mysterious plots, the most sweet nude, were not permanently furnished! What a detriment of vulgarity, what kind of sea false and misessing! And here in the midst of all this golden extravagania, a small canvas appears before the adjacent audience.
Human. One. It is among the endless field. He is tired. And on a moment, leaned on the hoom. We hear his intermittent breathing. The wind comes to us a crash of burning fires, a bitter aroma of burning grass eats eyes. Peasant in a white coarse shirt. Torn, old pants. Sabo. The face, dark from the sun, laid by the sun. Eyefoots are similar to an antique mask. Open mouth greedily catches air. Heavy brushes of naked hands with clouds, nodes, like roots of trees, fingers. Glitters on the sun Metal Moth polished about hard land. The peasant peering into the surrounding elegant crowd. He is silent. But from his notch is still a terrible question laid down in steep abrasions.
"Why?" - Involat the invisible eyes, hidden shadows.
"Why?" - Ask your hands dismissed.
"Why?" - A question is asked omitted shoulders, bent, covered with a spin of a person hung up ahead of time.
Buzzing, buzzing is a free wind, walking along the rocky bungyan and burdock a wasteland. The sun is mercilessly, exposing all the unpleasurities, the loneliness of man. But neither the wind, nor the sun, nor the sky itself can answer why this far from the old man should have to live in a poverty to the coffin board, working from dawn to dawn. And yet, despite all the deprivation and trouble, he mighty, he is great, this man!
And he is terrible. Strained by his silence.
Imagine how the grimace of surprise, horror distorted, the contempt of just kind, funny, destroyed the licks of the beautiful spectators of the salon and their lumpy from the well-being of the cavaliers.
A man is silent.
Man with hoe.
Jean Francois Mill wanted or did not want, but in a sense, laid in a small canvas, the entire pathos of the degree of injustice of the existing building. To do this, he did not need to make a crowded Mahine, inhabited by dozens of stans, it was not necessary to burn bengal lights of tribulation. That's the power of Mill, the strength of the plastic embodiment of the artistic image. The only, unique, devoid of anyobility. Because the basis of each picture, big or small, should lie artistic truth. What is noted creativity of such different masters, such as Michelangelo, Rembrandt, Goya, Surikov, Kursbe, Mill, Domje, Mana, Vrubel, Van Gogh ... and of course Peter Bruegel Senior Menietic.
But it's not time for us to return to Jean Francois Mill, whom we left in Paris to make an important decision - "Throw a masculine and start a new life"?
Mill's words did not disperse with the case. He had a Men's hard character and pure Norman perseverance. In 1849, he leaves Paris with his family with all his brilliance, bustling, noise, who endlessly interfered with Jean Francois, did not let him write cherished canvas. He comes to the barbizon, a deaf village. Mill thought he would settle here for the season - to paint, pee.
But fate judged differently.
The artist lived here to his death in 1875, more than a quarter of a century. In Barbizon, he created his best canvases. And how difficult it was not necessary, there was a land, beloved, native, was nature, ordinary people, friends.
Theodore Rousseau, wonderful French landscape officer became one of his most close art comrades. Here is a passage from the letter that Mille sent to Paris, to Rousseau, when he temporarily left the barbizon:
"I don't know what your wonderful celebrations in the Cathedral of the Parisian Our Lady and the City Hall, but I am more likely the modest festivities that meet me, barely only I go out of the house, trees, rocks in the forest, black hordes of Raven in the valley or what - Away a dilapidated roof, over which smokes from the pipe, intimidately breaking up in the air; And you learn on him that the hostess cuts dinner for tired workers who are about to arrive home from the field; or a small asterisk suddenly shines through the cloud - we once admired such a star after a great sunset - or it will seem away the silhouette slowly, slowly rising to the mountain, and how can I list everything that is expensive to someone who does not believe that the screame of Omnibus or piercing The street tinsmith is crushing - the best things in the world. Only not anyone confess to such tastes: there are the Lord who call it to death and reward our brother with different nasty nicknames. I just because I confess you in this, that I know - you suffer from the same ailment ... "
Needless to add something to this shout of the soul, in love with the quiet charm of the immortal nature. Mill has repeatedly said that there is nothing more pleasant, how to stick to fern and look at the clouds. But especially he loved the forest.
If you just saw what the forest was good! - he said. - I sometimes leave there in the evening, when I camp is denunim, and every time I return home in confusion. What a terrible calm and greatness! Sometimes I really covers fear. I do not know what these rakali trees are braveled about, but some kind of conversation is, and we just do not understand them that we speak different languages, that's all. I don't think they just shuffle.
But the painter did not see in the village, in the fields around him only I idyll, a certain Eden. Here is about his words in which you clearly feel the birth of the story of the "man with a hoe", already known to you in the Paris Salon of 1863.
"I see the whines of dandelions, and the sun when it gets far, far from here and the flame flames among the clouds. But I also see horses in a field smoking on sweat, when they are carrying a plow, and on some stony plot - a person eating out of his strength; It works from early morning; I hear how he chips, and I feel how he straightens his back. It is a tragedy among the magnificence - and I did not come up here. "
... somewhere far was Paris, salon, enemies. Truly seemed that life could be started first. But it was not there. A large family required funds, and they were not. Painting was also not checked. Paints. Canvas. Models. All this money, money, money. And again and again before Mille, I got a relentless question: how to live? At the time of creating its best painting "Collaborators", in 1857, the artist was desperate, on the threshold of suicide. Here are the lines from the letter revealing the hopelessness of Mille's needs.
"I have a solid darkness on my heart," he wrote. - And there are all black and black ahead, and this black is coming ... I think scary, what will happen if I can't get the money for the next month! "
The experience of the artist was aggravated by the fact that he could not see his beloved mother. There was no money to go visit her. Here is a letter of my mother to the son, an already known artist, but, unfortunately, who did not have several extra francs to visit the native settlement Grush.
"My poor child," Mother wrote, "if you just arrived, the winter did not come! I was so frightened, only I think - even if you still look at you. For me, everything is over, one of the torment remained me and death ahead. My whole body hurts, and the soul bursts, as I think that it will be with you, without any means! And there is no rest, nor sleep. You say you really want to come to see me. And how I want! Yes, it can be seen, you have no money. How do you live? Poor my son, I'll think about all this, just the heart is not in place. Oh, I still hope that God will give you, you suddenly gather, let you come when I stop you at all and wait. And live nursing me, and I don't want to die, so I want to see you. "
Mother died, never after seeing his son.
These are the pages of Mille's life in Barbizon. However, Jean Francois, contrary to all adversity, I was grieving, desperately wrote, wrote, wrote. It was during the most severe deprivities that he created his masterpieces. This is the answer of the true Creator to the blows of fate. Work, work contrary to all troubles!
The first masterpiece created in Barbizon was the "sower". It was written in 1850.
... The sower steps wide. Buzzing arable land. He goes great, slowly. Every three steps, the right hand takes him out of the bag of wheat from the bag, and in the middle of the grain gold plated in front of him. It takes off and falls into black wet soil. Epic power blows from this little canvas. Human. One one with the ground. The hero of the ancient myth is a simple man in a worn shirt, in the broken sabo steps, walks along a wide field. Screaming crows, shot above the edge of arable land. Morning. In the Siza Marchev on Kozochor - the slaughter of the oxen.
Spring. White sky, cold. Chilly. But the face of earthling glitters. Pot, hot sweat flooded like an adhesive face. The pristine, the ancient mystery of the birth of a new life illuminates the canvas Mill. The harsh romance of everydayness permeates the picture.
To meet the depraved, the true viewer of the Parisian salon stepped a true hero of the history of the human race.
Not a biblical holy, not an eastern lord, not Caesar - His Majesty himself appeared on Canvas Mille ...
Great silence of spring. The air rises from the awakening juices of the Earth, Nobuchish from the dew. Almost tangible feel like a plow breathing, awakened by a plow, ready to take a life-giving seed. Widely, the sower is widely walking. He smiles, he sees tens, hundreds, thousands of their brothers walking next to him in this bright morning and carrying land, people a new life. He sees the sea, the sea of \u200b\u200bbreads. The fruits of the work of their hands.
Pomegranate exploded in the cabin. Such was a resonance caused by this little canvas. Delivering the borzopisses agreed before they saw the grain in the hands of the sower of the sower "Threat to Proshchin".
He-de, they say, does not throw grains, but ... Cap.
Do you say - nonsense?
Maybe. So, the scandal spiked.
"Nishchen style" called Mill's painting manner. The Master himself was not without humor said that when he sees his canvas next to the outstanding, lacquered salon canvas, "then he feels like a man in the dirty shoes that fell into the living room."
Like verse, Mill leisurely unfolded an epic face of rural life. School of Manteny, Michelangelo, Poussin allowed him to create his own language, simple, monumental, extremely honest. Love painter to nature, to the ground - the love of the son. Little from the artists of our planet in the whole story so feel this invisible umbilical umbilical cord, connecting a person with the Earth.
It would be unfair to say that true connoisseurs of art did not notice the "sower". This is what theophile guide wrote:
"A gloomy rubbish puts on his (sower), the head is covered with some strange cap; He is a Kostist, Fur and is extended under this liver poverty, and, however, life comes from his broad arm, and he has a great gesture, who has nothing, sows on earth the bread of the future ... There is grandeur and stylish in this figure with a powerful gesture and stylish Proud posture, and it seems that it is written by the land that he sowed. "
Collaborators.
But these were only the first swallows of recognition. To great success was still very, very far. The main thing, the "sower" did not leave anyone from the audience indifferent, indifferent. There were only "for" or "against". And this meant a lot.
"Collapse of Kohliyev." 1857 year. One of Mill's most significant paintings. Perhaps the apotheosis of his work. This canvas was created during the greatest everyday tests.
August. Scorched znzvye. The sun is unlikely to fall. Wind, hot, smelling dust, brings the strott of grasshoppers, deaf human speech. Colosum. Our bread is ugly. The barbed stroke rigid bristles meets the hands of the peasants, looking for spikes. Hunger, the coming winter slewed these women here. Rustic Gol. Poor. Bronze, dark from the sun tan. Burnt clothing. All challenges of hopeless need. "Certificate of poverty" - paper gives the right to collect spikelets, and this is considered to be blessing. At the edge of the field - huge skirds, the hairs, loaded to the limit of snips. Vintage is rich!
But all this abundance is not for these women who bent into three deaths. Their goal is the need. Collectors of Kohliyev. After all, it is sisters, wives of a mighty sower. Yes, they collect an insignificant part of the abundant, cropped them.
And again, he wants or does not want Jean Francois Mill, in front of us in all its grandiiness the question arises.
Why is all abundance, all the wealth of land falls not in those hands? Why did the worker who has grown the harvest, vies a bench existence? What other? And again, I wanted this or not the author, the citizenship of his canvas will shook the sacred foundations of the modern society to him. Three women are silent, collecting spikelets. We do not see the expression of persons. Maximum stingy of their movement, in which there is no protest, and even more so Bunta.
And, however, the criticism of the newspaper "Figaro" was stiffed by something similar. He cried with a newspaper strip:
"Remove young children! Here are the collectors in Mill. Behind these three collectors on the gloomy horizon, the faces of folk uprisings and the scaffold are 93 years old! "
So the truth is sometimes worse than bullets and the floor. Mill's paintings approved new beauty in the art of France of the XIX century. It was the "unusual ordinary." Truth.
And only truth.
Life continued. Two years after the creation of "Collaborators" by Mill, a well-known artist has a widely well-known artist, writes one of his friends. The letter dated 1859, the year of the creation of "Angela".
"Freewher left for two days, three, and we just do not know what to do how to get it yet. In a month, I will give birth to my wife, and I have no penny ... "
"Angela". One of the most popular artists of world art. Mille himself talks about the emergence of her plot: "Angela" is a picture that I wrote, thinking about how no time, working in the field and keeping the ringing of the bell, the grandmother did not forget to interrupt our work so that we read the reverent ... "Angela Behind the poor dead. "
The power of the painting is in deep respect for people who worry on this field, loved and suffering from this sinful land. In the humanistic beginning, the reason for the wide fame of the canvas.
Years passed. Mill was deeper and deeper penetrated into the very essence of nature. His landscapes, deeply lyrical, extremely thin solved, is truly sound. They are the answer to the dream of the painter itself.
"Stacks". Dusk. Lilac, ash mound. Slowly, slowly floats across the sky, the pearl sail of the young moon. Spicy, bitter aroma of fresh hay, the thick smell of warm Earth remind of sparkling the sun, multitrop meadows, bright summer day. Silence. Deafly sounds cent a hoof. Brave tired horses. As if huge stacks grow out of the ground. But most recently, the wind came the wind of a ringing girl laughter, laughter of guys, cold squeaks of steel braids, measured, hard. Somewhere nearby the work of the Kohar. Darmest. Stacks like melting in the upcoming darkness. San Santa said that Mill worked so "easily and naturally, as a bird sings or a flower is revealed." "Stacks" - full confirmation of these words. The artist by the end of life has achieved full discrepancy and incomprehensible subtleties shaft of Eros.
in 1874, Jean Francois Mill wrote his last canvas - "Spring". He is sixty years old. This is his testament ...
"Spring". Passed shower. The whole world seems to be washed, spurla with fresh collers. Thunder still rinsing. Also, the temper of each other, creep on the sky gray, lead rods of thunderstorm clouds. Lilapid boat walked. But the victorious sun broke the silent captive clouds and lit a self-auction rainbow. Rainbow - Spring Beauty. Let the bad weather frowned, the cheerful wind will turn off the clouds off. We hear how young young breathes, as if the newly born earth, young herbs, the shoots of the branches. Quiet. Suddenly fell with a crystal ringing lonely drop. And again silence. Small houses clung to Earth. Highlightened in the Grozny sky fearlessly soaring white pigeons. Something whispering flowering apple trees. Muza Muster Yuna, more than ever.
"No, I don't want to die. This is too early. My business has not yet been done. It barely begins. " These words wrote one of the greatest artists of the XIX century - Francois Mill.
Francois Gerard (1770-1837) Gerard was not only a historic painter, but also a very popular portrait. Many high-ranking officers ordered him their portraits. But, in contrast to such masters of a portrait genre, like, for example, Velasquez or Goya, he portrayed his
From the book masterpieces of European artists Author Morozova Olga VladislavovnaFrancois Bush (1703-1770) Venus toilet 1751. Metropolitan-Museum, New YorkBush, the largest Master of Art Rococo, "First Artist of the King", gifted by all titles that the Academy of Fine Arts complained of its members, favorite artist Favorite King Louis XV
From the book Northern Revival Author Vasilenko Natalia VladimirovnaJean Francois Mill (1814-1875) Collars of 1857. Museum D'Ors, Parismilla, being a leaving from the Family of a rural organist, from an early age joined the peasant labor, which affected the choice of the central theme of his creativity. Rural theme was quite common
From the book of the authorFrancois Clue, like his father, Francois Clue was a court artist. Francois was born in a tour of about 1480, and his life was held in Paris, where he had a big workshop who performed a wide variety of orders, from miniatures and portraits to large decorative compositions by
Although his works are extremely important in art for all artistic flows. Drew genre compositions, landscapes, created several portraits. Painting Mille "Sewer" inspired Van Gogh to create their compositions on a similar topic. And his "Angela" was a favorite picture, a bright representative of surrealism. Next appealed to the images "Angela" all his life.
1. Biography. Childhood
Born in the village of Grush, near the city of Cherbourg, it is on the shore of La Mansha. Literacy learned to school in a rural church. Like all peasant children, a lot helped the family in the field. Later he will write: "The nature of this region left in my soul an indelible impressions, because she retained such an initial creation that I sometimes felt myself a contemporary Breygel (meant Peter Bruegelel of the old, outstanding artist from the Netherlands of the 16th century) ".
2. Training in Cherbourg
Noticing talent in the child, parents did everything possible so that the son would break out of the village. He was sent to Cherbourg, where they staged the artist Mossel, a local portraitist. Francois's successes led him to another workshop to Langlua artist. That he believed in the student who received a scholarship from the Sherbour's municipality and the right to study in Paris. So a former village moved to the capital.
Sometime, grandma testified him not to draw anything shameful, even when it is asking the king himself. The grandson performed the testament of grandmother - and made a lot of useful for art of France, and the whole world.
3. Portraits Francois Mill
In the first specialty he is portrait. He took and painted portraits. But felt discontent. In addition, in Paris, he studied in the historic painter Decoral. He did not feel pleasure from the business, nor then Paris. And so, because Paris is a desert for the poor. He had a soul in the Louvre Museum, because it was necessary to gain experience that no one could give him, except for old art masters.
Polina It is the artist's wife. They got married in. Four years later, Polina will die from CHAKHETOP (tuberculosis). Not everything was in order and with the paintings - no one bought them. An artist lived for money from ordered portraits.
4. Village Barbizon
There were not for inspiration. There was just cheap to live and it is not far from Paris. The village is located in the forest Fontainebleau. Mill remembered that the peasant and Barbizon processed the land, like his father, and in rare free clock painted paintings. They are gradually sold. And one acquired even the Minister of Interior Prices, ten times the artist's price is ten times.
But the number of outstanding landscape players here was so big that the village became famous for the whole world. Drew landscapes and Mill. And felt that it became a master, not like anyone. And in art it, after abilities and performance, is the main thing.
Among artists - foreigners Mill, friendly with the Englishman Virtuoso Frederick Leighton, remaining not like him.
5. Landscapes Mille
6. Rural France 19th century
7. Collens of twigs. Small masterpiece
In Mill, it is almost impossible to find paintings large in size: the length of the famous canvase "Angela" - 66 cm, "Colosal Collectors" - 111 cm, "Rest at the Harvest" - 116 cm. And these seems to be the most.
Little masterpiece of steel and "gathering of twigs", only 37 per 45 cm. So the French women have not yet written. Two figures are trying to extract dry wood, stuck. Labor that would adequately make a cattle, make two peasants, not waiting for help. This is the terrible world where help simply do not wait.
Researchers were surprised - there is no spectacular composition, no bright colors. No one kill anyone and no one shouts. And the audiences grabbed the heart. Mille paid the face of the bourgeois society to the people, to the excessive labor of the peasants, to the sympathy of those who are hard and terribly worked on Earth. He addressed the society (and the art of France) to humanism. And it overlapped and the small sizes of Mill paintings, and the lack of colorful treasures, theatrical gestures, screams, etc. The bitter truth of today was returned to art.
His call is heard. Mill has become an authority in painting. And as always, some shouted about his politicalization, others saw in it exclusivity, phenomenon. His paintings began to buy well.
Once "Collectors of Twigs" acquired Tretyakov. No, did not, Paul, bought and supported Russian artists, and then gave Moscow a gallery that bears his name. Acquired Brother Paul - Sergey Tretyakov, collecting works by artists in Europe. Usually he sent money to Paris to his agent, and he, at his discretion, seeing worthy, bought and sent to Moscow. And discretion, and the purchase was very successful. In Moscow, this is almost the only one (except for another landscape) plot painting Mill. But - masterpiece.
8. Two recognized masterpieces: "Angela" and "Colosum Collector"
9. Olhes Mill
Mill one of the masters who appealed to create engravings. It was not the main thing in his work, so he made several experiments in various techniques: six lithographs, two heliographies, six engravings on the tree. He worked in the etching technique. Among them, there are both repetitions of their paintings (the etching "collector of the cooles"), and quite independent plots. Extremely successful was the etching "Death takes the peasant-woodcutter" that a high artistic quality reminded the masterpiece of the German master of the 16th century Gansa Golbaine from the series "Dance of Death".
Mill for a long time was looking for the composition. The Louvre Museum retain two drawings of Francois Mill with the first search for the composition. Another drawing hit the Hermitage in 1929. The composition of the latter and formed the basis of both the etchings and the paintings on the same topic (New Karlsberg Gipkotek, Copenhagen).
10. Countries where Mille's works are stored
Sources
- Dario Durb?, Anna M. Damigella: COROT UND DIE SCHULE VON BARBIZON. Pawlak, Herrsching 1988, ISBN 3-88199-430-0
- Andr? Ferigier: Jean-Fran? Ois Millet. Die Entdeckung Des 19. Jahrhunderts. Skira-Klett-Cotta, Stuttgart 1979, ISBN 3-88447-047-7
- Ingrid Hessler: Jean-Fran? Ois Millet. Landschaftsdarstellung Als Medium Individueller Religiosit? T. Dissertation, Universit? T M? NCHEN 1983
- Estelle M. Hurll: Jean Fran? Ois Millet. A Collection of Fifteen Pictures and A Portrait Of The Painter, With Introduction and Interpretation, NEW BEDFORD, MA, 1900. ISBN 1-4142-4081-3
- Lucien Lepoittevin: Jean Fran? Ois Millet - AU-DEL? DE L "ANG? LUS. Editions de Monza. Paris 2002, ISBN 978-2-908071-93-1
- Lucien Lepoittevin: Jean Fran? Ois Millet - Images et Symboles. ? DITINS ISO? TE Cherbourg 1990, ISBN 2-905385-32-4
- Alexandra R. Murphy (HRSG.): Jean-Fran? Ois Millet, Drawn Into The Light. Museum of Fine Arts, Boston, Mass. 1999, ISBN 0-87846-237-6
- ALFRED SENSIER: LA VIE ET \u200b\u200bL "? UVRE DE JEAN-FRAN? OIS MILLET. Editions des Champs, BRICQUEBOSCQ 2005, ISBN 2-910138-17-8 (Neue Auflage Des Werks von 1881)
- Andrea Meyer: Deutschland Und Millet. Deutscher Kunstverlag, BERLIN UND M? NCHEN 2009. ISBN 978-3-422-06855-1
- One hundred etchings of the 16th and 9th centuries from the meeting of the State Emergency. L-M, 1964 (Rus)
- GMIA, Picture Galler Catalog, M, Fine Art, 1986 (Rus)