Wednesday, 1 June 2016


Jean François Millet (1814–75)
“Le Paysan rentrant du Fumier” [Peasant Returning from the Manure Heap], 1855
Etching in brown ink on very thin laid paper, signed by the artist in the plate
Size: (sheet) 24 x 20 cm, (plate) 16.3 x 13.3 cm
State: iv (of iv)
Delteil 11.IV; Melot 11

The British Museum offers the following description of this print: “Peasant man returning cart of dung to barn. 1855 Etching” (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1355072&partId=1&searchText=jean+Francois+millet&page=2)

Condition: marvellously rich impression with pencil notations by previous collectors and remnants of mounting tape (verso); otherwise in near pristine condition (i.e. no tears, stains, folds or foxing).


I am selling this famous and original etching by Jean François Millet in near pristine condition for AU$3000 (currently US$2171.79/EUR1937.97/GBP1504.98 at the time of posting this print) including postage and handling to anywhere in the world.
If you are interested in purchasing this print by the most famous artist of the Barbizon School, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.


Millet is one of the most famous artists of the nineteenth century and the reason is summed up in this powerful image. Beyond exemplifying the Barbizon School's vision of gritty rural realism and the noble worker, this print brings together many of the keys visual devices that helped to make Millet such a legendary artist.

One of these visual devices is the way that he changes the attributes of the marks he uses (i.e. the length, thickness, orientation, tone and phrased tensions of each line) to portray the essential character of the subjects portrayed.

For instance, note the range of different types of marks that Millet employs to express the coarse, but soft, material of the farmer's trousers as the fabric stretches over his calf muscles while also hanging heavily to his ankles. Going further, compare the strength of these marks to the finer, lighter and more freely laid strokes rendering the tangle of vines in the distance.




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