Painting

by Estelle M. Hurll

This little book is intended as a companion volume to "Child-Life in Art," and is a study of Madonna art as a revelation of motherhood. With the historical and legendary incidents in the life of the Virgin it has nothing to do. These subjects have been discussed comprehensively and finally in Mrs. Jameson's splendid work on the "Legends of the Madonna." Out of the great mass of Madonna subjects are selected, here, only the idealized and devotional pictures of the Mother and Babe. The methods of classifying such works are explained in the Introduction.

It is now about fifteen centuries since the Madonna with her Babe was first introduced into art, and it is safe to say that, throughout all this time, the subject has been unrivalled in popularity. It requires no very profound philosophy to discover the reason for this. The Madonna is the universal type of motherhood, a subject which, in its very nature, appeals to all classes and conditions of people. No one is too ignorant to understand it, and none too wise to be superior to its charm.

In walking through a French village, we get as little idea of the home life of the people as if we were in a large town or city. The houses usually border directly upon the street, and the spaces between are closed with high walls, shutting in the thoroughfare as completely as in a city "block." Behind these barriers each family carries on its domestic affairs in the privacy of its own domain. The cour, or dooryard, is the enclosure adjoining the house, and is surrounded on all sides by buildings or walls.

The early twilight of autumn has overtaken two peasants at the close of a day's work in the field. They are gathering the potato harvest. The dried plants are first pulled up, and the potatoes carefully dug out of the holes. Then the vegetables are taken from the furrows by the basketful, and poured into brown linen sacks to be carried home on the wheelbarrow. One of these sacks is not yet quite full, and the work has been prolonged after sunset.

The artist Millet loved to draw as well as to paint. Black and white pictures had their charm for him as truly as those in color. Indeed, he once said that "tone," which is the most important part of color, can be perfectly expressed in black and white. It is therefore not strange that he made many drawings. Some of these, like the Knitting Lesson and the Woman Feeding Hens, were, as we have seen, studies for paintings. The picture called Filling the Water-Bottles was, on the other hand, a charcoal drawing, corresponding to no similar painting. It is in itself a finished work of art.

As we have already seen in the picture of the Woman Feeding Hens, the dooryard in French village homes is so shut in by walls, that it has the privacy of a family living-room. This was the arrangement in Millet's own home at Barbizon. The painter was among the fortunate ones who had a garden beyond the dooryard. At the other end of this was his studio, where he worked many hours of the day. It is said that he used to leave the door open that he might hear the children's voices at their play.

The village-commune of Gréville has nothing to make it famous except that it was the birthplace of the painter Millet. It is at the tip of Cape La Hague, which juts abruptly from the French coast into the English channel. The cape is a steep headland bristling with granite rocks and needles, and very desolate seen from the sea. Inland it is pleasant and fruitful, with apple orchards and green meadows.

It is nightfall, and the sky is cloudy save where the last rays of the setting sun illumine a spot on the horizon. While the light lasts, the Sower still holds to his task of sowing the seed. A large sack of grain is fastened about his body and hangs at his left side, where one end of it is grasped firmly in the left hand lest any of the precious seed be spilled. Into this bag he plunges his right hand from time to time, and draws out a handful of grain which he flings into the furrow as he walks along.