Quotes about millet

A collection of quotes on the topic of millet, man, painter, use.

Quotes about millet

“Some people think I always wear the hat, but that's not true. Sometimes I don't wear the hat. It makes me laugh that some people think I always wear the hat, because obviously I don't wear the hat all the time. What about when I sleep or take a shower? I don't wear the hat then. Also, I don't wear the hat to go to Millets.”

Slash (musician) (1965) British-American musician and songwriter

Interview with Rock Guitar Player Magazine, 2003.

People, Thinking, Sleep, Time

“But perhaps the most significant factor in the turn to a Greek ethnicism, which resisted both the Turkish turban and the Latin mitre in the years before the fall of Constantinople, was the opposition of the urban populace, led by the Orthodox party, monks, and priests, to the wealthy urban classes and the Byzantine court. After the Ottoman conquest in 1453, recognition by the Turks of the Greek millet under its Patriarch and Church helped to ensure the persistence of a separate ethnic identity, which, even if it did not produce a ‘precocious nationalism’ among the Greeks, provided the later Greek enlighteners and nationalists with a cultural constituency fed by political dreams and apocalyptic prophecies of the recapture of Constantinople and the restoration of Greek Byzantium and its Orthodox emperor in all his glory.”

Anthony D. Smith (1939–2016) British academic

Chosen Peoples (2003)

Dreams, Help

“But when a great artist or a great writer lays hold upon either sort of ugliness he transfigures it instantaneously. With a touch from the magic ring he metamorphoses it into beauty. His Is a sort of fairy alchemy. His Is a sort of fairy alchemy.
When Velasquez, paints Sebastian, King Philip's dwarf, he gives him such an appealing look that we read the poor creature's secret and see the tragedy it involved — a man forced to get his living by discarding his human dignity, and becoming a toy, a living joke. The more poignant his martyrdom, within that misshapen body, the more beautiful the artist's work.
When Millet paints a poor rustic leaning upon a hoe, a wretch broken by fatigue, scorched by the sun, degraded as a beast of the field, he has only to add an expression of resignation in order to make this hideous nightmare a magnificent symbol of humanity.
When Shakespeare gives us Tago or Richard III, and when Racine gives us Néron and Narcisse, moral ugliness, interpreted by minds so clear, so penetrating, becomes a marvelous theme of beauty.”

Auguste Rodin (1840–1917) French sculptor

Rodin on realism, 1910

Secret, Beauty, Reading, Sun

“Patience! They will come to it gradually! Rousseau has sold a landscape for five hundred francs; for my part, I have sold a view of Fontainebleau for seventy-five francs. And I am commissioned to ask you for companion sketches to your drawings. And this time, instead of twenty francs, they are to pay you twenty-five! (Millet replied resignedly: 'If I could only sell two drawings a week at that price all would go right!”

Narcisse Virgilio Díaz (1807–1876) French painter

Diaz to Millet, c. 1845; as quoted by Albert Wolff, in Notes upon certain masters of the XIX century, - printed not published MDCCCLXXXVI (1886), The Art Age Press, 400 N.Y. (written after the exhibition 'Cent Chefs-d'Oeuvres: the Choice of the French Private Galleries', Petit, Paris / Baschet, New York, 1883, p. 20
In Paris Diaz had sold three drawings of his friend Millet for sixty francs, but Millet stayed still thoughtful, for he had to think of the morrow
Quotes of Diaz

Time, Parting, Drawing, Patience

“A million million worlds that move in peace;
A million mighty laws that never cease;
And one small ant-heap, hidden by small weeds,
Rich with eggs, slaves and store of millet-seeds.
They sleep beneath the sod
And trust in God.”

Charlotte Perkins Gilman (1860–1935) American feminist, writer, commercial artist, lecturer and social reformer

A Common Inference.
In this Our World : Poems (1898)

God, World, Peace, Law

“Today I visited Van Gogh's exhibition. I can not help it, but I think it's art for Eskimos, I can not enjoy it. I find it fairly crude and obnoxious, without the slightest distinction, and besides that everything is stolen from Millet and others.”

George Hendrik Breitner (1857–1923) Dutch painter and photographer

translation from the original Dutch, Fons Heijnsbroek version in original Dutch (citaat van Breitner's brief, in het Nederlands:) Vandaag ben ik op de expositie van Van Gogh geweest. Ik kan het niet helpen, maar ik vind het kunst voor Eskimo's, ik kan er niet van genieten. Ik vind het eerlijk grof en onhebbelijk, zonder de minste distinctie, en buitendien alles nog een gestolen goedje van Millet en anderen. Breitner's quote in his letter to Mrs. Van der Weele, (nr. 36) 25 Dec. 1892; as cited by P.H. Hefting, 'Brieven van G.H. Breitner aan H.J. van der Weele' https://dspace.library.uu.nl/handle/1874/245951, in Nederlands Kunsthistorisch Jaarboek 27 1976, pp. 112-172 Breitner wrote his letter after visiting the large Van Gogh-exhibition in the Panorama Room, December 1892 1890 - 1900

Art, Thinking, Help

“Out of 30,000 edible plants thought to exist on earth, just eleven account for 93% of all that humans eat: oats, corn, rice, wheat, potatoes, yucca (also called tapioca or cassava), sorghum, millet, beans, barley, and rye.”

Daniel Levitin book The Organized Mind

The Organized Mind (2014)

“For – to say a few words on technique – whereas the curved line was used predominantly for reasons of beauty, (Phidias, Michelangelo, Raphael, Rubens) it has been used more and more economically for reasons of truth (Millet, Claude Monet, Paul Cézanne) until it will end as the straight line for reasons of Love. This will enable the art of the future to create an international form; a form understandable to all and vital enough to the expression of a general feeling of love in a monumental way. Such is the future.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote from 'Onafhankelijke bespiegelingen over de kunst', by Theo van Doesburg, in the Dutch journal De Avondpost 23 January 1916
1912 – 1919

Love, Truth, Beauty, Art

“American feminism’s nose dive began when Kate Millet, that imploding beanbag of poisonous self-pity, declared Freud a sexist. Trying to build a sex theory without studying Freud, women have made nothing but mud pies.”

Camille Paglia (1947) American writer

Source: Sex, Art and American Culture : New Essays (1992), Junk Bonds and Corporate Raiders : Academe in the Hour of the Wolf, p. 243

Women, Sex, Study

“What surprising fellows those French painters are. A Millet, Delacroix, Corot, Troyon, Daubigny, Rousseau, and a Daumier.... Something else about Delacroix - he had a discussion with a friend about the question of working absolutely from nature, and said on that occasion that one should take one's 'studies' from nature - but that the 'actual painting' had to be made 'by heart'. This friend was walking along the boulevard when they had this discussion - which was already fairly heated. When they parted the other man was still not entirely persuaded. After they parted, Delacroix let him stroll on for a bit - then (making a trumpet of his two hands) bellowed after him in the middle of the street - to the consternation of the worthy passers-by:
'By heart! By heart!”

Vincent Van Gogh (1853–1890) Dutch post-Impressionist painter (1853-1890)

(Par coeur! Par coeur!) I can't tell you how much I enjoyed reading this article and some other things about Delacroix.. In his letter to Anthon van Rappard, from Nuenen, The Netherlands, 8 and c. 15 August 1885 - original manuscript, letter 526, at Van Gogh Museum, location Amsterdam - inv. nos. b8390 V/2006, http://vangoghletters.org/vg/letters/let526/letter.html See for this anecdote, taken from Charles Blanc, Les artistes de mon temps, letter 496, n. 7. 1880s, 1885

Question, Nature, Study, Reading

“The peasants have their painters, Millet, Jaque, Breton; and that is a good thing.... Well and good: but between you and me, the bourgeois walking along the jetty towards the sunset, has just as much right to be caught on canvas, 'to be brought to the light'... They too are often resting after a day's hard work, these people who come from their offices and from behind their desks... There's a serious and irrefutable argument.”

Eugène Boudin (1824–1898) French painter

Quote from Bonnard's letter to Ferdinand Martin, 3 September 1868; as cited in Eugène Boudin, G. Jean-Aubry with Robert Schmit - trans. Caroline Tisdall. Greenwich, Conn., New York Graphic Society, 1968, p. 72
1850s - 1870s

People, Light

“.. an entirely original painter [ Francois Millet ], high-minded and genuinely rustic in nature, who has expressed things about the country and its inhabitants, about their toil, their melancholy, and the nobleness of their labour. He has represented them in a somewhat barbaric fashion, in a manner to which his ideas gave a more expressive force than his hand possessed. The world has been grateful for his intentions; it has recognised in his methods something of the sensibility of a Burns who was a little awkward in expression.... He stands out as a deep thinker.”

Eugène Fromentin (1820–1876) French painter

Quote from Maitres d'Autrefois; Belgique – Hollande, Eugène Fromentin; Librairie Plon-Nourrit et Cie, Paris, 1877; as quoted by Arthur Hoebert, in The Barbizon Painters – being the story of the Men of thirty – associate of the National Academy of Design; publishers, Frederick A. Stokes Company, New York 1915, p. 73-74

World, Idea, Fashion, Nature

“If Russian painters were condemned to become the pupils of the West they were, I think, rather unfaithful ones by their very nature. The best Russian realist conflicts with the realism of Courbet. The most authentic Russian Impressionism leaves on perplexed if one compares it with Monet and Pissaro. Here, in the Louvre, before the canvases of Manet, Millet and others, I understood why my alliance with Russia and Russian art did not take root. Why my language itself is foreign to them. Why people do not place confidence in me. Why the artistic circles fail to recognize me. Why in Russia I am entirely useless... In Paris, it seemed to me that I was discovering everything, above all a mastery of technique... It was not in technique alone that I sought the meaning of art then. It was as if the gods had stood before me... I had the impression that we are still only roaming on the surface of matter, that we are afraid to plunge into chaos, to shatter and overthrow beneath our feet the familiar surface.”

Marc Chagall (1887–1985) French artist and painter

reaction on his first arrival in Paris, 1910
Quote of Chagall in: Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 262, (translation Daphne Woodward)
1910's

God, People, Unfaithfulness, Art

“The landscape painter, perhaps, goes even further. It is not only in living beings that he sees the reflection of the universal soul; it is in the trees, the bushes, the valleys, the hills. What to other men is only wood and earth appears to the great landscapist like the face of a great being. Corot saw kindness abroad in the trunks of the trees, in the grass of the fields, in the mirroring water of the lakes. But there Millet read suffering and resignation.
Everywhere the great artist hears spirit answer to his spirit. Where, then, can you find a more religious man?
Does not the sculptor perform his act of adoration when he perceives the majestic character of the forms that he studies? — when, from the midst of fleeting lines, he knows how to extricate the eternal type of each being? — when he seems to discern in the very breast of the divinity the immutable models on which all living creatures are moulded? Study, for example, the masterpieces of the Egyptian sculptors, either human or animal figures, and tell me if the accentuation of the essential lines does not produce the effect of a sacred hymn. Every artist who has the gift of generalizing forms, that is to say, of accenting their logic without depriving them of their living reality, provokes the same religious emotion; for he communicates to us the thrill he himself felt before the immortal verities.”

Auguste Rodin (1840–1917) French sculptor

Art, 1912, Ch. Mystery in Art

Men, Soul, Communication, Reality

“By Jesus’s time the Law of Moses, originally established for the government of a semi-barbarous nation of herdsmen and hill-farmers, resembled a petulant great-grandfather who tries to govern a family business from his sick-bed in the chimney-corner, unaware of the changes that have taken place in the world since he was able to get about: his authority must not be questioned, yet his orders, since no longer relevant, must be reinterpreted in another sense, if the business is not to go bankrupt. When the old man says, for instance: “It is time for the women to grind their lapfuls of millet in the querns,” this is taken to mean: “It is time to send the sacks of wheat to the water-mill.””

Robert Graves book King Jesus

Source: King Jesus (1946), Ch. 21.

Women, World, Family, Law

“I fear that in a few years there may be a kind of 'panic', in this form: 'since Millet' we have sunk very low — the word decadence, now whispered or pronounced in veiled terms (see Herkomer), will then sound like an alarm bell. Many, like I myself, now keep quiet, because they already have the reputation of being awkward customers,5 and talking about it doesn't help. That — namely, talking — isn't what one needs to do — one must work, though with sorrow in the heart. Those who later cry out the loudest about decadence will themselves belong to it the most. I repeat: by this shall ye know them, [from: Matt. 7:16. ] by their work, and it won't be the most eloquent who say the truest things. See Millet himself, see Herkomer, they're certainly not orators, and speak almost reluctantly.”

Vincent Van Gogh (1853–1890) Dutch post-Impressionist painter (1853-1890)

In his letter to Theo, from The Hague, 5 Nov. 1882 - original manuscript of letter no. 280 - at Van Gogh Museum, location Amsterdam - inv. b263 a-b V/1962, http://vangoghletters.org/vg/letters/let280/letter.html 1880s, 1882

Fear, Help, Heart, Cry

“At last, here is a new man [ Millet ], who has the knowledge which I would like to have, and movement, color, expression, too, - here is a painter!”

Narcisse Virgilio Díaz (1807–1876) French painter

Quote of Diaz, 1844; as cited by fr:Alfred Sensier, in Jean-Francois Millet – Peasant and Painter, translated from the French original by Helena de Kay; publ. Macmillan and Co., London, 1881, p. 62
Diaz de la Peña gave this comment when he saw for the first time work of Millet: the painting 'The Riding Lessons' on the Paris' Salon of 1844
Quotes of Diaz

Color, Knowledge

“First, Greece: for modem Greeks, as I intimated, the future could mirror ‘the past’ past’ in more than one way, since there was a clear split in that past. One school argued for the Byzantine roots and glory of Greece. They pointed to the massive influx of Slavic immigrants in the sixth and succeeding centuries throughout the Balkans and Greece, and claimed that this had weakened the links with a decayed Hellenic (or Hellenistic— Roman) culture. What was Byzantine was essentially Orthodox Christianity only the Greek language and liturgy retained any connection with a pre-Christian past. In the Orthodox millet of the Ottoman empire, Christianity had kept a Byzantine Greek ethnic alive, as in a chrysalis, ready to be transformed under the impact of Western ideas and commercialization in the late eighteenth century.8’ For the Byzantine-Orthodox clergy and their flocks, for the notables in the Mores and Phanariots in Constantinople, this grandiose dream of a restored Byzantine empire under Greek control located the re-nascent Greek people and charted their future in the Aegean and Ionia. It also pointed the way to a restored agrarian society of peasants, notables and clergy, essentially smallholders, but led by educated Orthodox elites under the Patriarch.”

Anthony D. Smith (1939–2016) British academic

Source: The Ethnic Origins of Nations (1987), p. 203.

People, Education, School, Dreams