Millet

Therefore, Millet's choice with the peasant as his subject-matter might be considered being a dynamic interaction among his past (the memories of his childhood) and his present (his fascination and concern to your plight with the impoverished inside the rural community) (Herbert 10).

This paper will provide a detailed analysis of the artistic characteristics for example the composition, style, movement/gesture and texture of three of Millet's paintings. The impact of these components on Millet's rural themes will also be explored. The three paintings are The Gleaners, Angelus and Harvesters Resting.

Millet's rural representations had been distinguished from his contemporaries in quite a few ways. Instead of rendering portraits of "sweet-faced country maids" working happily in an idyllic landscape, Millet's painting, The Gleaners, presents three anonymous figures engaged within the exercising of gleaning. The similarities with the poses of 2 of the 3 figures within the paintings improve their anonymous qualities. Their half-hidden faces, bowed down in labor, are cast in shadow. Stripped of their person identities, they come to be archetypal representatives from the gleaners who lead difficult lives of poverty (Herbert and Lehman 13; Hedberg 14).

In this painting, the movements, gestures and expressions from the figures certainly project Millet's theme of acceptance and class differences. As a gleaner, Ruth stands apart within the harvesters and draws back from Boaz's invitation as a result of the class difference among them. Millet showed Boaz reaching out towards the hesitant Ruth who leans back slightly with her head tilted down although ushering her to join the group with his left arm. The positioning of Boaz's two arms represents the obliteration in the class divisions inside rural community. His left arm that issues out for the group thus serves as a connection that brings Ruth, a gleaner, to the community of harvesters. At the same time, with their faces and gazes turned on the her as well as the craning position of their necks, some of the peasants also glimpse being extending the invitation to the Ruth to join the group (Murphy et al.). Thus, through his draftsmanship, Millet succeeded in illustrating his theme of acceptance.

Millet had also arranged the poses in the figures and the composition from the painting to draw attention on the differences in between the male as well as the female figure. The woman is praying in a pose of complete absorption and humility demonstrated by her slightly bent back and her tightly clasped hands. Over a other hand, the man seems to be turning his hat with his fingers. Although the woman's figure is slightly bent and taut with concentration, the male figure is standing straight and his entire body appears to be slightly slumped in a state of boredom, as while he is simply waiting for your rings with the bell to be over.

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