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"Stop right there, imitators! Millet created masterpieces, even when interpreting humans brought down by deprivation to the bottom of their being; you have no right to deny his great, his divine beauty." - Jules-Adolphe Breton
In 1853 Breton dedicated himself to depictions of peasant life. The historian Robert Rosenblum calls him "Millet's milder-mannered understudy who could present France's vast agricultural population not as an image of raw, threatening power, but as a simple society of archaic harmony dominated by the serene, recurrent rhythms of daily labor and church ritual." Where MILLET'S "ragged scarecrows" bent over in the fields (e.g., The Calling of the Gleaners, 1857) were jeered at the SALON, Breton's colorful, attractive women ending their day's work with heads held high (e.g., Recall of the Gleaners, 1859) got rave reviews. Breton honored Millet, as the comment quoted above makes clear, but he differentiated his own peasants as biblical people compared co Millet's, who were from a "strange, almost prehistoric dream."
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