Eugène Fromentin

The image is the result of selection, varying with every case.

The painter Fromentin, who was proud that he found after two or three years an exact recollection of things he had barely noticed on a journey, makes elsewhere, however, the following confession.

My memory of things, although very faithful, has never the certainty admissible as documentary evidence.

The weaker it grows, the more it is changed in becoming the property of my memory, and the more valuable it is for the work that I intend for it.

Among his best-known canvases are The Angelus, The Gleaners, The Sower, and The Man with the Hoe.

Eugène Fromentin, an artist and critic of eminent rank, gave this judgment on Millet.

An original painter, a lofty soul, a melancholy spirit, and nature truly rustic has said of the country and country people, of the severity, the melancholy, and the nobility of their work, things which no Dutchman would ever have dreamed of looking for.

Fromentin had elaborately criticized the great artists of Holland.

He was the painter-poet of the toiler in the fields.

Among his best-known canvases are the Angelus, the Gleaners, the Sower, and the Man with the Hoe, Eugène Fromentin, an artist and critic of eminent rank, gave this judgment on Millet.

An original painter, a lofty soul, a melancholy spirit, a nature truly rustic, has said of the country and country people, of the severity, the melancholy, and the nobility of their work, things which no Dutchman would ever have dreamed of looking for.

Fromentin had elaborately criticized the great artists of Holland.