About This Artwork

Jean-François Millet
French, 1814-1875

In the Auvergne, 1866/69

Oil on canvas
81.5 x 99.9 cm (32 1/16 x 39 1/4 in.)
Inscribed lower right: J. F. Millet

Potter Palmer Collection, 1922.414

Exhibition, Publication and Ownership Histories

Exhibition History

New York, Barye Monument Association, Barye and his Friends, November 15, 1889–January 15, 1890, no. 619.

Paris, Galerie Georges Petit, Exposition de Chefs-d’œuvre de l’école française: Vingt peintres du XIXe siècle, May 2–31, 1910, no. 121.

Art Institute of Chicago, A Century of Progress: Exhibition of Paintings and Sculpture, June 1–November 1, 1933, cat. 253.

Art Institute of Chicago, A Century of Progress: Exhibition of Paintings and Sculpture, June 1–November 1, 1934, cat. 198.

New York, Marie Harriman Gallery, Constable and the Landscape, November 8–27, 1937, cat. 8.

Paris, Galeries Nationales du Grand Palais, Jean-François Millet, October 17, 1975–January 5, 1976, cat. 214; traveled to London, Hayward Gallery, January 22–March 7, 1976, cat. 129.

Tokyo, Seibu Museum of Art, The Impressionist Tradition: Masterpieces from the Art Institute of Chicago, October 18–December 17, 1985, cat. 14; traveled to Fukuoka, Fukuoka Municipal Museum of Art, January 5–February 2, 1986; Kyoto Municipal Museum of Art, March 4–April 13, 1986.

Amsterdam, Rijksmuseum, Van Gogh & Millet, December 9, 1988–February 26, 1989, cat. 11.

Manchester, New Hampshire, Currier Gallery of Art, The Rise of Landscape Painting in France: Corot to Monet, January 29–April 28, 1991, cat. 89; traveled to New York, IBM Gallery of Science and Art, July 30–September 28, 1991; Dallas Museum of Art, November 10, 1991–January 5, 1992; Atlanta, High Museum of Art, January 28–March 29, 1992.

Publication History

“A Great Sale of Pictures,” New York Times (April 9, 1892), p. 5.

“Art Notes,” Critic 17, 530 (1892), p. 230.

“The ‘American Art Association’s’ Sale of Pictures,” The Art Amateur 26, 6 (1892), p. 141.

Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings (Chicago: Art Institute of Chicago, 1922), p. 68, cat. 826.

Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings (Chicago: Art Institute of Chicago, 1923), p. 68, cat. 826.

“Millets in the Art Institute,” Bulletin of the Art Institute of Chicago 18, 7 (1924), p. 89.

Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago: Art Institute of Chicago, 1925), p. 146, no. 826.

Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago: Art Institute of Chicago, 1932), p. 163.

Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago: Art Institute of Chicago, 1961), pp. 313–14.

Robert L. Herbert, “Millet Reconsidered,” Art Institute of Chicago Museum Studies 1 (1966), pp. 42, 51 (ill.), 62, fig. 21.

André Fermigier, Jean-François Millet (Geneva: Skira, 1977), pp. 115 (ill.), 116.

Richard Brettell, French Salon Artists 1800–1900 (Chicago: Art Institute of Chicago and New York: H. N. Abrams, 1987), pp. 84 (ill.), 85, 86 (ill.), 119.

Bruce Laughton, “J.-F. Millet in the Allier and the Auvergne,” Burlington Magazine 130, 1022 (1988), p. 351, fig. 19.

Kermit S. Champa, “The Rise of Landscape Painting in France,” in Kermit S. Champa, et. al., The Rise of Landscape Painting in France: Corot to Monet, exh. cat. (Currier Gallery of Art, Manchester, 1991),p. 40, no. 89.

Deborah Johnson, “Confluence and Influence: Photography and the Japanese Print in 1850,” in Kermit S. Champa, et. al., The Rise of Landscape Painting in France: Corot to Monet, exh. cat. (Currier Gallery of Art, Manchester, 1991), pp. 89, 95, no. 89.

James N. Wood, Impressionism and Post-Impressionism in the Art Institute of Chicago (Chicago: Art Institute of Chicago, 2000), p. 25 (ill.).

Nathalie Roux and Françoise Gibert, Jean-François Millet: Voyages en Auvergne et Bourbonnais 1866–1868, exh. cat. (Musée d'Art Roger-Quilliot , Clermont-Ferrand, 2002), pp. 42 (detail), 43, 47 (ill.).

Pauline Kohlsaat Palmer and Eleanor Dwight, The Letters of Pauline Palmer: A Great Lady of Chicago’s First Family (New York: Train/Scala Books, 2005), pp. 290 (ill.), 326.

Gloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Age of French Impressionism (Chicago: Art Institute of Chicago and New Haven: Yale University Press, 2010), p. 51 (ill.), no. 15; reprinted (Chicago: Art Institute of Chicago and New Haven: Yale University Press, 2013).

Ownership History

Dekeus, Bruxelles [according to 1892 sale catalogue]. American Art Association, by 1890 [lent to New York 1889]; sold American Art Association, New York, April 7, 1892, lot 145 to Potter Palmer for $12,000, possibly with Knoedler as agent [buyer and price according to Art Amateur 1892; for Knoedler see New York Times 1892]; Potter Palmer (died 1902), Chicago; his widow, Bertha Honoré Palmer (died 1918); by descent to their sons Honoré and Potter Palmer; given to the Art Institute, 1922.




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