end Notes
Millet and the angelus
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[1] Bradley Fratello, “France Embraces Millet: The Intertwined Fates of The Gleaners and The Angelus”, The Art Bulletin, December 2003 https://www.mutualart.com/Article/France-Embraces-Millet--The-Intertwined-/65DB908A334354D8
[2] Gil Baillie, “Bells and Whistles: The Technology of Forgetfulness”, Fellowship of Catholic Scholars Quarterly, Vol. 41, No. 3 Fall 2018 at 287 ff
[3] Fratello, op cit. The purchaser was Belgian landscape painter Victor de Papeleu
[4] Fratello, op cit
[5] Graham Robb, The Discovery of France, Picador, London 2007 at 30, 31
[6] Emphasis added. Van Praet also quipped, “…In the end, the constant ringing just became tiresome”
[7] Fratello, op cit
[8] For specific influences on painters such as Van Gogh, see further under the heading “A revered inspiration for Van Gogh”
[9] La Vie et Oeuvre de J.-F. Millet. Sensier died before publication
[10] Fratello, op cit
[11] Fratello, op cit
[12] Fratello, op cit
[13] Quoted in Fratello, op cit
[14] Since 1986, the painting has been at the Musée d’Orsay
[15] Fratello, op cit
[16] This approval was not universal. In 1887 Camille Pissarro described the Angelus as one of the painter’s poorest works and denigrated its religious sentimentality: Fratello, op cit
[17] St Louis Art Museum, online exhibition essay Millet and Modern Art; From Van Gogh to Dali https://www.slam.org/explore-the-collection/millet-and-modern-art/
[18] Vincent van Gogh, The Letters: http://vangoghletters.org/vg/
[19] James Elkins, “What is Interesting Writing in Art History?” Ch 16 http://305737.blogspot.com/2013/03/chapter-16.html
[20] Salvador Dali, The Tragic Story of the Angelus of Millet (1938)
[21] Whitney Chadwick, Myths in Surrealist Painting 1929-39, Ann Arbor, University of Michigan Press 1980, at 65; see also Claire Nouvet "Searching for a Grave in Millet's Angelus: The 'Death Zone' of Salvador Dali", Psychoanalysis in French and Francophone Literature and Film, Vol XXXVIII, 2011
[22] It is possible that the severity of this situation was overstated at the time, for dramatic effect
[23] Though its impact was important, there were other factors that also played a role in the campaign, such as the desire to assist widows whose artist-husbands had been killed in World War I, and the apparent success of a scheme devised by a private syndicate of art investors, who paid artists a share of the sale proceeds of their paintings: P. Lewis, “The resale royalty and Australian visual artists: painting the full picture” (2003) 8 Media and Arts Law Review 306, at 307; Jonathan Barrett “An analysis of Jean-François Millet’s The Angelus and the origins of droit de suite through the multifocal lens of love”, Journal of Intellectual Property Law and Practice, publ July 2020, https://doi.org/10.1093/jiplp/jpaa093
[24] Philip McCouat, “Should artists get royalties?” Journal of Art in Society, http://www.artinsociety.com/should-artists-get-royalties.html
[25] “Art: Stabbed at Prayers”, Time, August 22, 1932
[26] “Millet and Modern Art: From Van Gogh to Dali”, a major exhibition by St Louis Art Museum and the Van Gogh Museum, Amsterdam, February 2020.
© Philip McCouat, 2020
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[1] Bradley Fratello, “France Embraces Millet: The Intertwined Fates of The Gleaners and The Angelus”, The Art Bulletin, December 2003 https://www.mutualart.com/Article/France-Embraces-Millet--The-Intertwined-/65DB908A334354D8
[2] Gil Baillie, “Bells and Whistles: The Technology of Forgetfulness”, Fellowship of Catholic Scholars Quarterly, Vol. 41, No. 3 Fall 2018 at 287 ff
[3] Fratello, op cit. The purchaser was Belgian landscape painter Victor de Papeleu
[4] Fratello, op cit
[5] Graham Robb, The Discovery of France, Picador, London 2007 at 30, 31
[6] Emphasis added. Van Praet also quipped, “…In the end, the constant ringing just became tiresome”
[7] Fratello, op cit
[8] For specific influences on painters such as Van Gogh, see further under the heading “A revered inspiration for Van Gogh”
[9] La Vie et Oeuvre de J.-F. Millet. Sensier died before publication
[10] Fratello, op cit
[11] Fratello, op cit
[12] Fratello, op cit
[13] Quoted in Fratello, op cit
[14] Since 1986, the painting has been at the Musée d’Orsay
[15] Fratello, op cit
[16] This approval was not universal. In 1887 Camille Pissarro described the Angelus as one of the painter’s poorest works and denigrated its religious sentimentality: Fratello, op cit
[17] St Louis Art Museum, online exhibition essay Millet and Modern Art; From Van Gogh to Dali https://www.slam.org/explore-the-collection/millet-and-modern-art/
[18] Vincent van Gogh, The Letters: http://vangoghletters.org/vg/
[19] James Elkins, “What is Interesting Writing in Art History?” Ch 16 http://305737.blogspot.com/2013/03/chapter-16.html
[20] Salvador Dali, The Tragic Story of the Angelus of Millet (1938)
[21] Whitney Chadwick, Myths in Surrealist Painting 1929-39, Ann Arbor, University of Michigan Press 1980, at 65; see also Claire Nouvet "Searching for a Grave in Millet's Angelus: The 'Death Zone' of Salvador Dali", Psychoanalysis in French and Francophone Literature and Film, Vol XXXVIII, 2011
[22] It is possible that the severity of this situation was overstated at the time, for dramatic effect
[23] Though its impact was important, there were other factors that also played a role in the campaign, such as the desire to assist widows whose artist-husbands had been killed in World War I, and the apparent success of a scheme devised by a private syndicate of art investors, who paid artists a share of the sale proceeds of their paintings: P. Lewis, “The resale royalty and Australian visual artists: painting the full picture” (2003) 8 Media and Arts Law Review 306, at 307; Jonathan Barrett “An analysis of Jean-François Millet’s The Angelus and the origins of droit de suite through the multifocal lens of love”, Journal of Intellectual Property Law and Practice, publ July 2020, https://doi.org/10.1093/jiplp/jpaa093
[24] Philip McCouat, “Should artists get royalties?” Journal of Art in Society, http://www.artinsociety.com/should-artists-get-royalties.html
[25] “Art: Stabbed at Prayers”, Time, August 22, 1932
[26] “Millet and Modern Art: From Van Gogh to Dali”, a major exhibition by St Louis Art Museum and the Van Gogh Museum, Amsterdam, February 2020.
© Philip McCouat, 2020
RETURN TO HOME