Word: millet
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Dates: during 1980-1989
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...cinematography by Nestor Almendros is nothing short of spectacular, from the shining fields of grass to the dry, patched clapboard houses. And the scene of Moses and Edna planting cotton seed is as powerful as a Millet painting...
...first night is spent at Tersef, 100 miles north of N'Djamena. Supper is served in a hut of branches and millet straw. Everyone eats from the same dish, though there is little but hard gristle and bone. "We have no ranks," says Abdul Osman, 21. "We are all combatants, we are all volunteers." His job is to teach reading and writing to the troops. After supper he conducts a lesson: "Maman est tres belle .. . Maman a une belle robe . .. Bonjour, maman." Since there are 300 different languages in Chad, French is the lingua franca...
...fervent anarchist, and his dot-crusted scenes of idyllic rural labor (as stylized and unreal, in some ways, as any 18th century pastoral) are attempts, not always successful, to convey an ideal vision of social dignity based on freely shared work. In this he was the heir of Millet as well-though he certainly did not know peasant life as Millet had. But by the mid-1890s, with his bustling market scenes and views of Rouen cathedral rising from a choppy, tiled sea of roofs, he had returned to a less schematic form of painting...
...artists in the show, like Manet himself, or Gustave Courbet or Jean Frangois Millet, have secure reputations as masters. Almost all the rest, whose paintings have been exhumed and whose biographies have been researched with indefatigable diligence by the show's curator, Art Historian Gabriel P. Weisberg of the Cleveland Museum of Art (where the show originated last November), are minor figures. But that is not the show's point. Rather, what Weisberg and his colleagues have tried to do is re-complicate our view of the 19th century and fill in some of the details...
...realism. Painters of rural life, like Jules Breton, idealized rather more than their urban counterparts. There was a lengthy tradition of peasant decor in French art, and artists tended to see the country as a happy escape from the grinding realities of the city-the great exception being Millet, with his unfaltering sense of the earth and its rigors, and the stupors it enforced on those who worked it. One may doubt whether the women's work of gleaning after harvest was normally as dignified and arcadian as Breton suggested in The Gleaners...