In 1859 Millet sent two works to the Salon, a “Woman grazing her Cow,” and “Death and the Woodman.” The latter, one of the most philosophical of Millet’s pictures, which to-day is the principal attraction of the Jacobsen Museum at Copenhagen, was rejected. Disappointments of this kind came with such systematic regularity to the painter that he must have become proof against them. He always had bitter enemies amongst the critics, who never failed to pour abuse upon his method and his subjects. Even a number of his fellow artists joined in the chorus of disapproval. But the vehemence with which he was attacked was striking evidence of the impression he was making and the inward sense of his own powers; and the fact that he was working out his destiny according to the dictates of his own genius supported him against this outpouring of prejudice and malice. The social side of life appealed to him more strongly as the years rolled on, and the murmurings which had been heard in 1859 as to the socialistic tendencies of “Death and the Woodman” swelled to a roar when the stupendous “Man with the Hoe” was exhibited fourteen years later. The latter, one of the most virile studies of depraved humanity which the world has ever seen, has always been a favourite with social reformers, and has inspired one remarkable poem. Even his most implacable critics were disarmed before this canvas; its power was magnetic; it was an inspiration, soul moving and trenchant.
His financial difficulties never completely dispersed. At one time, in order to insure himself a little tranquillity, he made a contract with two speculators, whereby they were to become possessors of all the work he produced for three years, in consideration of their assuring him a thousand francs a month. A great number of Millet’s finest productions passed thus through their hands, including the “Return from the Fields” and the “Man with the Hoe.” The partners were not long in quarrelling, and after a lawsuit had been fought, Millet was left in the hands of a man who frequently would not or could not pay him in ready money, and whose bills he was frequently forced to discount at considerable loss.
One little gleam of sunshine rendered his later days happy. This was a commission from a Colmar banker, Monsieur Thomas by name, who required four allegorical compositions representing the Seasons, to decorate his rooms. The artist was overjoyed by this piece of good fortune, and immediately commenced a most conscientious study of such mural decoration as was within reach, in order that he might do full justice to his patron. He paid frequent visits to Fontainebleau and the Louvre, and even desired a friend to inquire if he could not obtain reproductions of the frescoes at Herculaneum and Pompeii. In spite of all this elaborate preparation, the subjects were not such as appealed to his genius, and in spite of them being well and soundly painted, we are told that they presented no features which called for special comment.
He found, however, a much more genial occupation in accomplishing a series of drawings ordered by a Monsieur Gavet, who paid the artist 1000, 700, and 450 francs each, according to their size. He made altogether ninety-five drawings in this way, and it is said that this gentleman had in his possession the finest work in black and white and water-colour the artist ever executed.
Towards the latter end of his life the death of dear relatives and friends cast a sorrowful gloom over him. Amongst the latter Rousseau, who expired in his presence on the 22nd of December 1867, was perhaps the loss which seemed to him hardest to bear. A staunch and trusty friend, who was to be relied upon when his prospects seemed the most hopeless, he had been one of the very few who had appreciated Millet’s talents at their full worth, and who, moreover, scanty as his own means were, was ever ready to stretch out his hand to assist his struggling friend.
PLATE VIII.-THE SHEEP-FOLD
(In the Glasgow Corporation Art Galleries)
The poetry of moonlight has never been better realised than by Millet. The lonely watch of the shepherd, the huddling together of the sheep, the dreary mystical plain stretching away to the horizon, losing itself finally in the vaporous atmosphere of the chilly night, are all rendered with astonishing fidelity. It is in such works as these that the master reveals his sympathy with the solitude of many phases of peasant life.
Shortly afterwards Millet paid a visit to his patron, Herr Hartmann, at Münster, and from here he went for a short time into Switzerland. Upon his return he devoted himself with great earnestness to work, and achieved a certain success at the Salons with his exhibits. The outbreak of the war with Germany caused him to migrate with his family to Cherbourg, where he thought he might continue to work, removed as far as possible from the scenes of carnage and struggle which were going on farther east. Transported once more amongst the scenes of his childhood, he felt an increased impetus to production, and when he returned to Barbizon late in 1871, he brought with him a number of canvases of the highest quality; conspicuous amongst them was the wonderful “Gréville Church,” now in the Louvre.
The anxieties of his troublous life were, however, beginning to show their effect upon his constitution; a persistent cough developed, and although an amelioration would occasionally occur, it was always succeeded by a worse condition than before. His health suffered a general decline, and he finally breathed his last on the 20th of January 1875. He was buried in the little cemetery of Chailly, beside his friend Rousseau, amidst the scenery they both loved so well.