Graphic Arts Displays

Drawings by Jean-François Millet (1814-1875) from the Moreau-Nélaton collection

Display room 68
2 July - 6 October 2014

Jean-François MilletStudies for Peasant Woman Feeding Her Child and Shepherdess with her Flock© RMN-Grand Palais (musée d'Orsay) / Thierry Le Mage
Etienne Moreau-Nélaton (1859-1927), the owner of Manet's Luncheon on the Grass also perfected the relevance of a collection designed as an anthology of 19th century art through the acquisition of numerous graphic works.
Very close to Jean-François Millet, he finished the biography he dedicated to him in 1921, Millet raconté par lui-même [Millet told by himself], with an album of his drawings in order to highlight their quality and power.

The two hundred and sixty-four works that he left behind in 1927 come from the sale of the artist's workshop after his death on 10 and 11 May 1875 and of Millet's widow's estate on 24 and 25 April 1894.
Sketches, preparatory drafts and unique drawings testify to the collector's interest in the artist's creative process and the evolution of his compositions.

Jean-François MilletThe Barbizon plain at dusk© RMN-Grand Palais (musée d'Orsay) / Martine Beck-Coppola
Moreau-Nélaton acquired few of Millet's pastels: Woman Churning, shown here, did not belong to him, unlike the accompanying studies which are more in line with the collection.
This display is an opportunity to discover drawings that are rarely shown, notably due to the clause in the Moreau-Nélaton bequest prohibiting the loan of these works; studies of famous paintings and images of workers are presented alongside landscapes exploring numerous graphic techniques and drawings of the characters of the Ogre, Hop-o'-My-Thumb and Bluebeard.

Drawings by Camille Pissarro: landscapes

Display room 69
30 June - Autumn 2014

This set of works by Camille Pissarro (1830-1903) is highly representative of the art of the man considered as one of the fathers of Impressionism. The artist never abandoned his search for the best representation of light.
The different processes he tested from his first Impressionist experiments up to the pointillist technique are presented here. With landscapes, Pissarro achieved a perfect mastery combining unity of colours and power of composition.

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