1827–1906 · Realism. Wikipedia
Jules Adolphe Aimé Louis Breton was a 19th-century French naturalist painter. His paintings are heavily influenced by the French countryside and his absorption of traditional methods of painting helped make him one of the primary transmitters of the beauty and idyllic vision of rural existence.
The Gleaners (French: Les Glaneurs) is an oil-on-canvas painting by Jules Breton, from 1854. The painting depicts an idealized version of peasant life. It is held in the National Gallery of Ireland, in Dublin. Breton exhibited The Gleaners at the 1855 Salon (Paris). It was praised by critics and a private collector purchased it.
The Song of the Lark is an oil on canvas painting by French naturalist artist Jules Breton, from 1884. The painting shows a peasant farm girl walking in a field transfixed, listening to birdsong at dawn. It was first exhibited at the Paris Salon in 1885. Since 1894, it has been part of the Henry Field Memorial Collection at the Art Institute of Chicago, a collection of oil paintings that had been owned by Henry Field. In 1893, Field's widow, Florence, had established a trust for the purposes of loaning this collection of 44 oil paintings to the museum. On May 26, 1916, she outright gifted the entire collection to the museum.
The Weeders is an oil on canvas painting by Jules Breton, from 1868. It depicts a group of peasant women working the fields of Northern France. The painting is in the Joslyn Art Museum, in Omaha, Nebraska. Originally a painter of historical scenes, Breton began to shift with time his focus to agrarian scenes. One of the paintings produced as a result of this new focus was The Weeders, which Breton painted after observing a group of farmers in his home town of Courrières picking over a field to clear away weeds and thistle. The work reminds The Gleaners by Jean-François Millet (1857).
Sala 4 "Del Romanticismo a las vanguardias" - Museo Soumaya - Mexico
The Pardon of Kergoat is an oil on canvas painting by French artist Jules Breton, from 1891. It depicts a pilgrimage scene specific to Brittany, in the commune of Kergoat in Finistère. It is held at the Musée des Beaux-Arts de Quimper. The scene shows a scene of a pardon, a penitential ceremony held in the French region of Brittany. It depicts an outdoor crowd moving towards a church. A forest lies in the background. In the foreground, men and women of poor condition, are dressed in rags, contrasting sharply with the sumptuous costumes of the people seen in the procession. The procession occupies five-sixths of the painting, leaving the final portion open. The religious building is located in the upper part of the painting, with its roof cut off. It is concentrated in the upper left corner, barely occupying half the vertical space of the canvas. A man carrying a banner walks towards the side entrance of the church.
Although often associated with the Barbizon school, Breton favored a more idealized treatment of his subjects and a more polished style of painting. In this rural scene, probably set in the artist's native Pas-de-Calais, north of Paris, three young women return from the fields at dusk. Their idealized forms contrast markedly with the harshness of Millet's depictions of peasant life.
Two peasant women rest leaning on their rakes as the sun sets. Breton trained in Belgium and in Paris but remained committed to his birthplace, Courrières in the Pas-de-Calais department of northern France. His early paintings reflect a concern for the plight for the rural poor, but his later works tended to romanticize their existence.
Painting by Jules Breton, 1882
The Feast of Saint John
Dawn
Last Flowers
French: Les SarcleusesThe weederstitle QS:P1476,fr:"Les Sarcleuses"label QS:Lfr,"Les Sarcleuses"label QS:Len,"The weeders"
The End of the Working Day is an oil on canvas painting by the French artist Jules Breton, from 1886-1887. It is held at the Brooklyn Museum, in New York. Breton portrays a scene at the sunset where three peasant women are returning home, after an working day, crossing some flowery fields. Two of them carry heavy loads on their backs. The other carries shovels and a pitcher. Two people are seen in the background, at the upper left, working in the land. This vision of the peasants life is rather idealized, far from the realist vision that can be seen in the work of Jean-François Millet.
Study for „The vintage at Château Lagrange“
French: Plantation d'un calvairetitle QS:P1476,fr:"Plantation d'un calvaire"label QS:Lfr,"Plantation d'un calvaire"