In the mid 19th century was the long road of
revolutions against an oppressive government in France. Among these civil rebellions were increasing
tensions between classes, influencing artisan’s compositions. What used to be the time of Romanticism gave
way to Realism of modern lives in the lower class. One such artist was Jules Breton who depicts
peasant women in their industrial labor with delicacy and grace in his oil
painting The Weeders. Like a stepping stool for his other works
it demonstrates Breton’s use of a calm pallet as desirable to the eye in the
atmosphere of day and reseeding light in the rest of his peasant lifestyle series. Including a sense of heroism in their daily
lives. However, his work was received
with harsh criticism for what it lacked: true to life, weary and straining
effects of labor conditions.
Commonly compared and contrasted at the time for their different
interpretations of peasant life beside Jules Breton was artist, Jean-François Millet. Instead of a stretched reality of
man’s relationship with nature, Jean-Francois Millet was praised for his
“honest” realism. Not just in subject matter
but the experience itself of backbreaking labor.
So, was there a “correct” interpretation of the life of a peasant?
Arguably, the answer is no. Various
audiences unintentionally brought their own experiences, which influence what
they saw in these works. Additionally,
the viewers made an interpretation of another interpretation because the artists
themselves bring their own experiences.
By comparing Jules Breton’s work with Millet’s, exemplifies Breton’s own
depiction of the livelihood of peasants in the 19th century as an
idealistic way of life.
Jules Breton, The Weeders, 1868, oil on canvas, 25.110.66
Breton commonly used sunsets in his works to add a poetic
and desirable atmosphere of the peasants’ lifestyle. The fading glow of the last bit of sunlight
depicts a serine moment while a woman to the far left stands gazing into the
distance over the flat worked fields.
Deep tones of reseeding light over the land force the eye upward in
contrast with the sky. The viewer cannot
help but join the women in the distance as she gazes out at the radiant soft
glow. Jules Breton’s stream of working
women throughout the composition of hunched over women in their tedious job,
does not completely visually remove the strenuous effects of labor from the
exaggerated arch of their backs. However,
any sense of fatigue is removed from the young maidens’ faces with lack of
color that would naturally tan the skin from the constant sun beating down on
them.
Jean-Francois Millet,
The Gleaners, 1857, oil on canvas, Musée
d'Orsay, Paris, France, RF592
Millet’s harsh earthy tones of color add to the atmosphere of
the worker’s strenuous task. Nothing
about the scene pulls the eye in or comes across as desirable. Compositionally he placed his figures at the
center of his piece facing the viewer strait on as the women work on their task
of pulling up weeds. His work is meant
to be a documentation that is both true to life in nature and the conditions of
maintaining that nature.
Jules Breton, The Reapers, 1860, oil on canvas, Kelvingrove Art Gallery and
Museum – Glasgow
In addition to Breton’s other pieces, time of day is
picturesque or an otherworldly paradise.
Young women stroll and socialize along side their bountiful fields of
straw, unwearied by the days work ahead of them. While leading in front of the casual pack of
women is a little girl carrying something light in the front hems of her skirt. Behind them are both fields of straw that are
waiting to be harvested and another that has been fruitfully labored over. Both this background and pace of the women suggest
there is work to be done but there is no hurry to meet a quota. Plus the everyday task of peasants’ shared
labor produces companionship in how they show physical affection with both
light gestures and embrace.
Jean-Francois Millet, Harvesters Resting, circa 1850-1853, oil on
canvas, Museum of Fine
Arts – Boston
Tired figures rest sprawled out below their daunting task of
hay that looms over them in the background.
The viewer cannot even see the top of the closest haystack with a ladder
leaning against its mass, hardly a match for the haystack’s height. Millet continues to use a flat color pallet
in reflection of the laborer’s task. To
the left, a fatigued woman is ready to drop her arm full of straw while a man
gestures for her to sit down and join the other two women that are about to
serve food to the anticipating hungry men around them. Her weariness is evident in light of her
tasks never seeming to end. Shoes and
other items are tossed to the side while both the men and women’s harvesting is
put on pause. However, the women are
pressed to keep going.
Jules Breton, The Song of the Lark, 1884, oil on
canvas, Art Institute of
Chicago
A young woman stands tall gesturing with her mouth slightly
open in song as the day is coming to a close.
Her features are natural and stylized – a moment before the sun is just
about to pass over the horizon. She
carries with her a sense of dignity and pride while gripping her reaping tool. In the background a field has just been
cleared and concurred which expresses Breton’s common heroine theme in his
paintings of the lower class.
Jean-Francois Millet,
The Little Shepherdess, 1872, oil on
canvas, Art Institute of Chicago
Millet portrays a modest shepherd girl leaning against a tree
in the shade with her staff put to the side.
The features of her face are slightly hidden as she calmly plays with grass
or a twig in her hand. Though this painting
has a quieter relationship to the land compared to his other works of toil and
labor she is slightly resting herself while aware that her flock is not far
off. In relation to other
interpretations of the lower working class women in the 19th century
there is nothing particularly desirable about her lifestyle. Millet is instead showing the average and
mundane of daily life.
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