3 peasant women, gleaning field, Millet would have experience as a peasant farmer's son
Exhibited 1840, 'left wing agenda' questioned, gleaners unidealised and strong 'Man with ***'
Barbizon school- nostalgia for country, painting nature, religious notion that man was condemned to toil, peasants are monumental and noble
Romantic
Loose brushwork, foreshortening creating movement and energy
Themes of repressed liberty and man and nature at women, dependancy on the land
Realism
Rural life as a subject, peasants in heroic large scale
Class distinction- labour in foreground, wealthy on horses in back, light also shows this
Tricolor- revolution, black woman clenches fist- revoultionary anger in the country
'Bears the thorn of revolution'
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Redgrave 'The Seamstress' (1844)
Woman at work
Young, pale tired, clock reads 2.30am looks out window to church, face lit up like a saint
Simple clothes, cracks in walls, all object in one room, ill- medicine bottles
Isolated and vulnerable, youn and beautiful to appeal to upper class male audience
Context
Moved from painting academic to cruelty in Victorian society
Hood's 'Song of the Shirt' in Punch Magazine- more public awareness, Mayhew's 'London Labour and the London Poor' - spoken of health problems of seamstress
More interest in philanthropt e.g. Employment Commission set up 1843
Comment on Society
Respectable- chose this over prostitution, aso seen in Millais' 'Vice and Virtue' 1853
Tenniel's 'Haunted Lady' in Punch Magazine- emancipated seamstress
Sister died of typhoid as governess, 'The Poor Teacher' (1843), 'too lonely'
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