This drawing by Jean-François Millet (1814-1875) came in with foxing on the paper, which caused brownish discoloration. There were also dirt particulates across the surface.
Select chemistry baths lifted the foxing and helped return the original color to the paper as well as halt the future spread. A custom Dutch Frame with white gold was prepared, and a rice-paper hinge was used to secure the drawing to a heavy 8-ply mat. Museum glass, besides filtering UV-light, is also know for how well it handles the glare of lights, as seen in the last photograph, provided the quintessential touch of a restoration: unnoticed. We are very pleased with how the frame compliments the drawing and pulls the viewer’s eye inward, to accentuate the dynamic line strokes of Millet.
Jean-François Millet, (born October 4, 1814, Gruchy, near Gréville, France—died January 20, 1875, Barbizon), French painter renowned for his peasant subjects.
Millet spent his youth working on the land, but by the age of 19 he was studying art in Cherbourg, France. In 1837 he arrived in Paris and eventually enrolled in the studio of Paul Delaroche, where he seems to have remained until 1839.
After the rejection of one of his entries for the Salon of 1840, Millet returned to Cherbourg, where he remained during most of 1841, painting portraits. He achieved his first success in 1844 with The Milkmaid and a large pastel, The Riding Lesson, that has a sensual character typical of a large part of his production during the 1840s.
The peasant subjects, which from the early 1850s were to be Millet’s principal concern, made their first important appearance at the Salon of 1848 with The Winnower, later destroyed by fire. In 1849, after a period of great hardship, Millet left Paris to settle in Barbizon, a small hamlet in the forest of Fontainebleau.
He continued to exhibit paintings of peasants, and, as a result, periodically faced the charge of being a socialist. Letters of the period defending Millet’s position underline the fundamentally classical nature of his approach to painting.
By the mid-1860s, Millet’s work was beginning to be in demand. Official recognition came in 1868, after nine major paintings had been shown at the exposition of 1867. Important collections of Millet’s pictures are to be found in the Museum of Fine Arts, Boston, and in the Louvre.