I was browsing in an op shop a number of years ago and came across this painting. I'd never seen it before but immediately recognized that its subject reflects the employment of Ruth in the Bible. I couldn't resist the $4 price tag.

Over the years since, I’ve done a little research into the painting. Below are some of my discoveries, taken from various (somewhat confusing and conflicting) internet sources, and rewritten by me in broad strokes. I am by no means an expert in art or history and I am very happy to have any of the following information corrected, but I have enjoyed my little research assignment for the month.

Jean-Francois Millet

Jean-Francois Millet was born on October 4th, 1814 in Normandy, France. He was the oldest child in the family.

His father was a peasant worker and Jean-Francois spent much time helping him in the fields. Despite their poverty, the family took much solace in their Catholic beliefs. His father was a choir leader in church and his Grandmother was well read in religious texts.

Jean-Francois was initially educated by the parish priest, learning classic literature, greek and latin songs, all while continuing to draw the surrounding farms and fields.

He moved to Cherbourg in 1833, where he trained under a local artist. Four years later a municipal council grant saw him move to Paris to study art. His Grandmother, before his move, reminded him, “Remember, you are a Christian before you are an artist.”

Despite the artistic opportunity in France, Jean-Francois was very much a loner and longed for the countryside of his youth. He was also still very poor, and his poverty eventually caused him to leave his studies. He chose to study alone, in the Louvre, where he was heavily influenced by the works of Michaelangelo.

He supported himself by creating cheap paintings for money, as well as painting various subjects in the styles of famous artists.

His first wife died in 1844 of consumption. In 1845 he met his second wife and soon children began to arrive, seemingly before their civil marriage ceremony in 1853. All in all, 9 children were added to their family.

Jean-Francois continued to struggle for success and to support his growing family, and in 1849 they moved to a small village on the border of the forest of Fontain Bleu. The move was initially intended to be for only 3 weeks, but they remained there for a further 26 years, until the artist’s death.

Their house was a small barn, heated by a wood stove. The surrounding countryside was very similar to that of his childhood and he largely painted what he observed: The hardships and occupations of the poor.

His reputation and success grew through the 1860s and he finally received some financial recognition and critical approval towards the end of his life.

He died on 20th January, 1875 at the age of 60. His lifetime catalogue of paintings, many of which illustrate the rural working life of his day, very much reflects his statement that “The most joyful thing I know is the peace, the silence that one enjoys in the woods or on the tilled lands.”

“The Gleaners”

The Gleaners is one of a trio of paintings: The Sower (1850), The Gleaners (1857) and The Angelus (1857-59).

This painting depicts a subject which Millet returned to often: That of the centuries old right of poor women and children to collect the pieces of grain left after the harvest.

We read of Ruth gleaning in Boaz’ field in the book of Ruth in the Old Testament and interestingly, the work that Millet considered his most important, and upon which he worked the longest, was “Harvesters Resting (Ruth and Boaz)”.

In “The Gleaners”, three women are gleaning: A maiden, a matron and an old lady. In the background a wagon is seen, piled high with the harvest, and various stacks are still to be transported. An overseer on horseback takes no notice of the women who are a considerable distance from him. Nearer to the women are their much smaller collections of grain.

The young woman has no apron, so carries her gleanings in her hands, whereas the older women stow theirs in their doubled over aprons. The old woman bends stiffly and painfully.

Perhaps in sympathy to the class of women portrayed, Millet has used soft colourings and brush strokes to illustrate a somewhat harsh subject.

Of the trio of paintings, “The Gleaners” is perhaps the most recognised today. However, it was poorly received when Millet first presented it in 1857 at the prestigious Paris Salon. Critics perceived it to be a condemning comment on the class distinctions of the day, and the size of the painting was usually reserved for religious subjects rather than for paintings depicting the working life of the poor.

After the Salon, Millet, short of money, sold “The Gleaners” for the small price of 3000 francs. A few years later he sold the third painting of the trilogy, “Angelus” for less than half of the price he had received for the previous painting.

Ironically, the two paintings became pivotal works in the development of France’s laws regarding artistic provenance. In 1889 both works were resold at extraordinarily increased prices, highlighting the disparity between the price of the paintings and the poor estate of Millet’s family. Soon after came the creation of the droit de suite (right to follow) law which enabled some artists or their heirs to receive a fee on the resale of their works.