8/12/2019 AA Art Millet Sheepfold Ed

1/2

THE SHEEPFOLD - MILLET (1814-1875)

In the picture we have an effect of moonlight which we may have often seen, but which most of us

would find it impossible to show on paper or canvas.

If we examine the picture carefully we shall see that there is not very much drawing in it. Even the

flock of sheep, which is the most important part of the picture, does not seem to have any verydefinite shape.

Yet no one, even the youngest of us, requires a title for the picture. Because the picture shows no

special definite form or any decided colour, would it be easy to paint?

It is only when we begin to look at it very carefully that we see how the artist has createdsomething very true and very real out of almost nothing. Things begin to take shape as we look

more closely, just as they do at night.

If we took at the sky first, we will notice that the moon is not sharply and clearly defined, nor is itwhite. Next we notice that it is not round in other words, it is not full moon.

We also see it has a halo round it, but it is so delicate and so faint that we can just see it and nomore.

Notice the patches of cloud in the sky; some are silver edged, and some without any light striking

on them.

The hut, the sheep-pen, the man, the sheep and the dog, are all ghostly. We can see the moonlight

streaming over the backs of the sheep, but we cannot see very clearly where their legs end or if

they have any feet.

What we think about sheep, or anything else, is not what the artist sees, and if we were looking at

this scene in real life we would be sure to pass by and not notice much that the artist has painted inhis picture.

8/12/2019 AA Art Millet Sheepfold Ed

2/2

We do, however, see the shepherd more or less clearly with outstretched arm directing the sheepthrough the gate into the fold. Or is he striking something -- perhaps fixing the fence?

Only an artist like Millet could have painted such a picture and got such an effect as this. We can

think of him, standing in the fields studying the scene. Then, as soon as he is indoors, he takes out

his sketch-book and makes notes of what he has seen. Some of these notes are written and some

drawn.

During the next day he thinks a good deal about the picture he intends to paint. He may visit the

scene in daytime, but how different it looks! No silver moon, no ghostly forms, no mystery.

Then in the evening he comes back and studies it all over again. When he has got it thoroughly

into his mind he probably paints it from memory.

In this picture, therefore, we see not only the scene as the artist saw it, but also as he thought about

it. The artist has shown us in this picture several things he found out by studying the scene.

One of them is that the natural colours of grass, sheep's wool, and almost everything else,disappear in moonlight.

A second thing he has shown us is that in a dull or weak light we do not see the edges of thingsclearly-they appear soft and dimly defined.

Those are two things which the artist remembered when he was painting his picture. When next

we have an opportunity we should see whether he was right about these two points.

Those are two things which the artist remembered when he was painting his picture. When next

we have an opportunity we should see whether he was right about these two points.