Some such prayer as this may be running through the mind of the woman in our picture. She has the earnest and simple character which belongs to the Norman peasant. Hers is a kindly nature, too, and the cat rubs familiarly against her as if sure of a friend who has often set a saucer of milk in his way. With sleeves rolled up and skirts tucked about her, she attacks her work in a strong, capable way which shows that it is a pleasure. The light comes from some high window at the left, and, gleaming on her arms, shows how firm and hard the flesh is.
We know that this is a Norman peasant woman from her tall cap. There are many styles of caps peculiar to different parts of France, but those worn in Normandy are remarkable for their height. When some of the people of this province emigrated to the western continent and settled in Acadia, the land of Evangeline, the women brought their caps with them and continued to wear them many years, as we read in Longfellow"s "Evangeline."
Our previous studies of the other pictures of this collection help us to see at once the good points of composition in the Woman Churning.
The main lines of the group in the foreground form a tall pyramid. The shape of the churn gives us the line at the right side, and the figure of the cat carries the line of the woman"s skirt into a corresponding slant on the left. The lines of the tiled floor add to the pyramidal effect by converging in perspective. Even the broom leaning against the shelf near the door takes the same diagonal direction as the tiles of the right side.
We have here also a new ill.u.s.tration of the art of treating inclosed s.p.a.ces.[2] An outlet is given to the room through the door opening into the farmyard. Across the yard stands a low cow-shed, in which a woman is seated milking a cow. This building, however, does not altogether block up the view from the dairy door. Above the roof is a strip of sky, and through a square window at the back is seen a bit of the meadow.
[Footnote 1: From Ronsard"s "Hymn to St. Blaise," translated by Henry Naegely in _J.F. Millet and Rustic Art_.]
[Footnote 2: See chapters ii. and vi.]
XV
THE MAN WITH THE HOE
To the peasant farmer every month of the year brings its own labors.
From seed time to harvest there is a constant succession of different tasks, and hardly is the harvest gathered in before it is time to prepare again for planting. Before ploughing can be begun the fields must first be cleared of stubble and weeds. Now in Millet"s village of Barbizon, this clearing of the fields was done, in his day, by means of an implement called in French a _houe_. Although we translate the word as hoe, the tool is quite unlike the American article of that name. It looks a little like a carpenter"s adze, though much larger and heavier, the blade being as broad as that of a shovel. The handle is short and the implement is very clumsy and fatiguing to use. Even the stoutest peasant finds the work wearisome.
The man in our picture has paused for a moment"s rest in this toilsome labor, and leans panting on his hoe. In the heat of his toil he has thrown off his hat and blouse, which now lie together on the ground behind him. His damp hair is matted together on his forehead, his brawny chest is exposed by the open shirt, his h.o.r.n.y hands are clasped over the hoe handle. Some distant object catches his eye. It may be a farm wagon moving across the plain, or perhaps a bird flying through the clear air. To follow the course of such an object a moment is a welcome change from the monotonous rise and fall of the hoe.
It is a rough and uneven field in which the laborer works, rising here and there in small hillocks, and thickly overgrown with brambles and coa.r.s.e tufts of herbage. When these weeds are loosened from the soil, they are raked in little heaps and burned. In the field just back of this is a circle of these bonfires, sending up their columns of smoke towards the sky. A young woman is busy raking together the piles. In the distance she looks like a priestess of ancient times presiding at some mystic rites of fire worship. Far beyond, a shapely tree is outlined against the horizon.
[Ill.u.s.tration: From a carbon print by Braun, Clement & Co. John Andrew & Son, Sc. THE MAN WITH THE HOE]
To study this picture profitably, we must consider separately the subject and the artistic qualities. These two elements in a work of art are often confused, but are in reality quite distinct. Very unpleasant subjects have sometimes been employed in pictures of great artistic merit, and again beautiful subjects have sometimes been treated very indifferently. When great art is united with a great subject, we have ideal perfection; but poor art and a poor subject together are intolerable. Now some people think only of the subject when they look at a picture, and others, more critical, look only at the qualities of art it contains. The best way of all is to try to understand something of both.
In the first glance at this picture we do not find the subject very attractive. The laborer is awkward, he is stupid looking, and he is very weary. If we are to look at laborers, we like to see them graceful, intelligent, and active like the Sower. As a redeeming quality, the Man with the Hoe has a certain patient dignity which commands our respect, but with all that, we do not call it a pleasant subject.
But look a moment at the strong, n.o.ble outlines of the drawing and see how finely modelled is the figure. So carefully did Millet study this work that he first modelled the figure in clay that he might give it more vitality in the painting. This Man with the Hoe seems indeed not a painted figure, but a real living, breathing human being, whom we can touch and find of solid flesh and blood.
We must note, too, how grandly the figure is thrown out against the sky and the plain. There is something to observe, also, in the proportions of the man to the background. The broad pyramid made by the bending figure and the hoe needs plenty of s.p.a.ce at each side to set it off, hence the oblong shape of the picture. These, and other artistic qualities not so easily observed and understood, all give the picture "a place among the greater artistic conceptions of all time."
The Man with the Hoe has probably caused more discussion than any other of Millet"s paintings. From the very first those who care only for the subject of a picture have condemned it, while the critics have praised its artistic qualities. Many have thought that Millet made the subject as unpleasant as possible in order to show the degrading effects of work. The same theory was suggested when the Sower and the Gleaners appeared. The painter himself was much troubled by these misunderstandings. "I have never dreamed of being a pleader in any cause," he said. He simply painted life as he saw it, and had no thought of teaching strange doctrines against labor. Indeed, no man ever felt more deeply than he the dignity of labor.
When everything which could be said for or against the picture had been exhausted on the other side of the Atlantic, the picture was brought to this country and finally to the State of California. Here the discussion began all over again. There were those who were so impressed by the unpleasant character of the subject that they could not find words strong enough to express their horror. The Man with the Hoe was called "a monstrous thing distorted and soul-quenched," a "dread" and "terrible" shape, "a thing that grieves not and that never hopes," a "brother to the ox," and many other things which would have surprised and grieved Millet.
Of course, any one to whom the pathos of the subject itself appeals so strongly can have little thought for the artistic qualities of the picture. So Edwin Markham, the writer of the poem from which these expressions are quoted, lets the subject lead him on into an impa.s.sioned protest against "the degradation of labor,--the oppression of man by man,"--all of which has nothing to do with the picture.
Millet was not one to care at all for what he called "pretty"
subjects, as we have already seen in studying the picture of the Milkmaid. "He felt that only by giving to his figures the expression and character which belonged to their condition could he obey the laws of beauty in art, for he knew that a work of art is beautiful only when it is h.o.m.ogeneous."[1]
This was the theory which he put into practice in the Man with the Hoe, and one who understands well both his theories and his art sums up the great painting in these words: "The n.o.ble proportions of the figure alone would give this work a place among the greater artistic conceptions of all time, while the severe and simple pathos of this moment of respite in the interminable earth struggle, invests it with a sublimity which belongs to eternal things alone." [2]
[Footnote 1: Pierre Millet in the _Century_.]
[Footnote 2: Henry Naegely.]
XVI
THE PORTRAIT OF MILLET
In studying the works of any great painter many questions naturally arise as to the personality of the man himself and the influences which shaped his life. Some such questions have already been answered as we have examined these fifteen pictures by Millet. Jean Francois Millet, we have learned, was of peasant parentage and spent the greater part of his life in the country. His pious Norman ancestors bequeathed him a rich heritage of strong and serious traits. From them, too, he drew that patience and perseverance which helped him to overcome so many obstacles in his career.
In the surroundings of his childhood he saw no pictures and heard nothing of art or artists. Yet at a very early age he showed a remarkable talent for drawing. His artistic temperament was inherited from his father, who was a great lover of music and of everything beautiful. "Look," he sometimes said, plucking a blade of gra.s.s and showing it to his little boy, "how beautiful this is." His grandmother, too, had a true poetic vein in her nature. She would come to the child"s bedside in the morning, calling, "Wake up, my little Francois, you don"t know how long the birds have been singing the glory of G.o.d." In such a family the youth"s gifts were readily recognized, and he was sent to Cherbourg, the nearest large town, to learn to be a painter. Here, and later in Paris, he received instruction from various artists, but his greatest teacher was Nature.
So he turned from the schools of Paris, and the artificial standards of his fellow artists there, to study for himself, at first hand, the peasant life he wished to portray. What a delightful place Barbizon was for such work we have seen from some of his pictures.
It was during the fruitful years of work at Barbizon that Millet made the crayon portrait of himself which is reproduced as our frontispiece. He was a large, strong, deep-chested man, somewhat above the medium height. An admirer has described him as "one of nature"s n.o.blemen," and his younger brother Pierre says he was "built like a Hercules." He had an inherent distaste for fine clothes which he showed even in boyhood. When he grew to be a painter, and returned to visit his family in Greville, the villagers were scandalized to see the city artist appear in their streets in blouse and sabots.
As we see in the portrait, Millet had long wavy hair, falling over his shoulders, and a thick black beard. His forehead was high and intelligent, and his nose delicately cut and sensitive. His eyes were gray-blue, of the kind which look a man through and through and which nothing escapes. The artist had so trained these wonderful eyes of his that he had only to turn them on a scene to photograph the impression indelibly on his memory.
The face that we see in the portrait is that of a thinker, a poet, and an artist. It is the face of one who held intimate converse with the great poets of the ages, of one whose favorite books were the Bible, Virgil, Theocritus and Shakespeare. Though Millet had many genial traits in his nature, his expression here is profoundly serious. Such an expression tells much of the inner life of the man. His pictures were too original to be popular at once, and while he waited for purchasers he found it hard to support his family. His anxieties wore upon his health, and he was subject to frequent headaches of frightful severity. Nor was the struggle with poverty his only trial. He had to contend constantly against the misconceptions and misrepresentations of hostile critics.
He was of too stern a nature and too loyal to his ideals to vary a hair"s breadth from his course, yet criticism embittered him. "Give me signboards to paint, if you will," he exclaimed, "but at least let me think out my subjects in my own fashion and finish the work that I have to do, in peace."
Like all who have great originality, Millet lived in a world of his own, and had but a few congenial friends. To such friends, however, and in the inner circle of his home, he opened his great and tender heart, and all who knew him loved him.