"Jean-François Millet: Drawn into the Light," October 26, 1999–January 9, 2000, no. "Jean-François Millet: Drawn into the Light," June 18–September 7, 1999, no. Sterling and Francine Clark Art Institute. "Corot, Courbet und die Maler von Barbizon: 'Les amis de la nature'," February 4–April 21, 1996, no. "Barbizon: French Landscapes of the Nineteenth Century," February 4–May 10, 1992, no catalogue. "Franse meesters uit het Metropolitan Museum of Art: Realisten en Impressionisten," March 15–May 31, 1987, no. ![]() "Lighting up the Landscape: French Impressionism and its Origins," August 1–October 19, 1986, no. "Jean-François Millet," January 22–March 7, 1976, no. "100 Paintings from the Metropolitan Museum," August 28–November 2, 1975, no. "100 Paintings from the Metropolitan Museum," May 22–July 27, 1975, no. "The Impressionist Epoch," December 12, 1974–February 10, 1975, not in catalogue. "The Forest of Fontainbleau, Refuge of Reality: French Landscape 1800 to 1870," April 22–June 10, 1972, no. "Cent chefs-d'œuvre des écoles françaises et étrangères," June 8–?, 1892, no. "Exposition centennale de l'art français (1789–1889)," May–November 1889, no. 55 (as "L'Automne," lent by Mme Sanson Davillier ). ![]() and on my return home I sat down and commenced the picture, but of direct studies-‘voila tout.’" The picture was engraved by Champollion, V. Low (1853–1932) in the summer of 1874, when the artist described his initial efforts on the painting: "it was a stormy day. The latter may be identical with one Millet showed to the American painter Will H. Herbert (19) has noted the existence of two brown chalk studies for Haystacks: Autumn, one for the entire composition and the other for the haystacks (Leicester Galleries, London, in 1961), as well as a notebook sketch (Kunsthalle, Bremen). 120–21.) The three finished pictures are based on identical compositions executed in pastel in 1867–68 for the Parisian collector Émile Gavet (1830–1904 the pastel corresponding to The Met's canvas is in the Museum Mesdag, The Hague the other two are in the Museum of Fine Arts, Boston.) It seems certain that Hartmann saw the pastels in March 1868, and that they impressed him sufficiently to commission the painted series (Murphy et al. The loose, sketchlike finish of this work is characteristic of the artist's late style: patches of the dark lilac-pink ground color are deliberately exposed, and the underdrawing is visible, particularly in the outlines of the haystacks and the sheep. Essentially the same point of view was employed for The Gleaners (1857 Musée d'Orsay, Paris), with the peasant figures here replaced, as it were, by the haystacks. Beyond the haystacks lies the plain of Chailly with the rooftops of Barbizon, where Millet had lived since June 1849. Haystacks: Autumn depicts a specific time and place: with the harvest finished, the gleaners have departed and the sheep are left to graze. The painting of Winter, probably Solitude (Philadelphia Museum of Art), remained incomplete when the artist died on January 20, 1875. 344), and was reportedly in his studio the following fall (Wallis 1875). Yet Haystacks: Autumn was still with the artist when Sensier and Hartmann visited him on J(Cartwright 1902, p. On March 18, 1874, he wrote to Sensier that The Met's picture was nearly finished and that Summer: Buckwheat Harvest (Museum of Fine Arts, Boston) was also in its final stages. ![]() On February 18, 1873, he promised Hartmann that Spring (Musée d'Orsay, Paris) would be completed in May, and reported that he had made good progress on Haystacks: Autumn as well. Millet worked on the Seasons paintings intermittently for seven years. Since 1850, Sensier had provided materials to Millet in exchange for works of art, and occasionally acted as his agent (Herbert 1976, p. On April 17, 1868, the artist wrote to his friend Alfred Sensier (1815–1877), asking him to order four canvases, each measuring 110 by 85 centimeters: three prepared with a dark lilac-rose ground and one with a yellow-ochre ground. Millet’s work on the project can be traced through his correspondence. Haystacks: Autumn is one from a series of paintings on the theme of the Four Seasons, which was commissioned in April 1868 by the Alsatian industrialist Frédéric Hartmann (1822–1880).
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