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My dear Sensier, - I shall be greatly obliged if after reading and sealing the enclosed letter, you will take it to Rue du Delta, No. 8. [Paris].. ..… - Jean-François Millet
" "My dear Sensier, - I shall be greatly obliged if after reading and sealing the enclosed letter, you will take it to Rue du Delta, No. 8. [Paris].. ..Jaque [common friend and painter] and I have settled to stay here [ Barbizon ] for some time, and have accordingly each of us taken rooms. The prices are excessively low compared to those in Paris; and as it is easy to get to town if necessary, and the country is superbly beautiful, we hope to work more quietly here, and perhaps do better things. In fact, we intend to spend some time here.. .I wish you good-bye, with many hearty embraces. Jacque sends you warm remembrances, and will answer your letter tomorrow.
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About Jean-François Millet
Francois Millet, (October 4, 1814 – January 20, 1875) was a French painter and one of the founders of the Barbizon school in rural France. Millet is noted for his scenes of peasant farmers like in his well-known painting The Gleaners.
Also Known As
Alternative Names:
Jean François Millet
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Jean-Francois Millet
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Jean Francois Millet
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Mile
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Zhan Fransua Mille
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Mi-yeh
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François genannt Francisque Millet
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Jan Francois Millet
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jean-francois millet
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millet j. f.
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millet jean francois
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François Millet
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Millet
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millet j.f.
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Jean François Millet.
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J. F. Millet
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franqois millet
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j.f. millet
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Additional quotes by Jean-François Millet
Barbizon Thursday, My dear [Alfred] Sensier: M. Letrone, whom I do not know.. ..came yesterday [to the house of Millet in Barbizon], and bought my 'Women Putting Bread in the Oven', for 800 francs, and another little picture which I am to make from a sketch which he has seen for 400 francs. This gentleman has a son who has been, and, for all I know, may be still, a pupil of Rousseau. I am working, in spite of frequent interruptions, at my picture of 'A Woman Sewing by the Light of a Lamp' for the Dutchman [a buyer who ordered the painting]. It is already in a forward state, but trivial matters disturb me too often.
One day, however, I spent the whole day in front of the 'Concert Champetre' of Giorgione [in the Louvre museum, during his early Paris' years]. I could not weary of it. It was already three o'clock when, mechanically, I took a little canvas belonging to a friend, and began a sketch of the picture. Four o'clock sounded, and the dreadful 'ferme' [closing-time] of the guardians turned me out: but I had made enough of a sketch to give me pleasure, like a run into the country. Giorgione had opened the country to me. I had found consolation with him.
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I work like a gang of slaves; the day seems five months long. My wish to make a winter landscape has become a fixed idea. I want to do a sheep picture and have all sorts of projects in my head. If you could see how beautiful the forest is! I rush there at the end of the day, after my work, and I come back every time crushed. It is so calm, such a terrible grandeur, that I find myself really frightened. I don't know what those fellows, the trees, are saying to each other.. ..we don't know their language, that is all; but I am quite sure of this - they do not make puns!.. ..Send [me] 3 burnt sienna, 2 raw ditto, 3 Naples's yellow, 1 burnt Italian earth, 2 yellow ocher, 2 burnt umber, 1 bottle of raw oil.
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