Lot Essay
MIllet was the most committed painter-draftsman of the Realist
movement in France. His paintings, pastels, and finished drawings were all prepared with numerous compositional sketches and careful figure
or detail studies; and his often quirky outline drawings are well
known. Two Women Sewing by Lamplight is unusual in Millet's early oeuvre, however, as a drawing executed almost entirely
in tone, rather than with defining lines.
Two Women Sewing by Lamplight is a preparatory work for a
painting of an outdoor scene which used only a small oil lamp as a
source of light. As such it demonstrates Millet's careful attention to the problems of rendering three-dimensional forms in limited natural light. The drawing was used for both the boston painting Women
Sewing by Lamplight (La Veillée) and a finished drawing of the
same subject in the Worcester Museum of Art, Worcester, Massachusetts, completed around 1853-54; and probably for a smaller
drawing as well, lost since 1938, which was in turn a stage in the
development of an etching of the same subject, in 1855-56.
We are grateful to Alexandra Murphy for her assistance in preparing
this catalogue entry.
movement in France. His paintings, pastels, and finished drawings were all prepared with numerous compositional sketches and careful figure
or detail studies; and his often quirky outline drawings are well
known. Two Women Sewing by Lamplight is unusual in Millet's early oeuvre, however, as a drawing executed almost entirely
in tone, rather than with defining lines.
Two Women Sewing by Lamplight is a preparatory work for a
painting of an outdoor scene which used only a small oil lamp as a
source of light. As such it demonstrates Millet's careful attention to the problems of rendering three-dimensional forms in limited natural light. The drawing was used for both the boston painting Women
Sewing by Lamplight (La Veillée) and a finished drawing of the
same subject in the Worcester Museum of Art, Worcester, Massachusetts, completed around 1853-54; and probably for a smaller
drawing as well, lost since 1938, which was in turn a stage in the
development of an etching of the same subject, in 1855-56.
We are grateful to Alexandra Murphy for her assistance in preparing
this catalogue entry.