Millet. Sixty masterpieces from the Museum of Fine Arts, Boston

22 October 2005 - 19 March 2006 | Brescia, Museo di Santa Giulia

curated by George T. M. Shackelford and Marco Goldin

An exceptional exhibition, that it can also occupy alone the scene of the exhibition project Brescia. For the first time in Italy an important event for many of the exhibits - sixty - and quality of care, dedicated to Jean-François Millet, one of the giants of European painting in the mid-nineteenth century. The Museum of Fine Arts, Boston, which owns the world's largest collection of works by Millet, lends all his masterpieces, including paintings, pastels and drawings. Nothing is excluded, starting with the Sower. And while evoking the name, it is understandable why the exhibition of Millet takes place in 2005, at the same time, that is, one in which includes many works of Van Gogh Dutch painter who so suddenly, for the formation of his personality art, its design and its painting, the figure of Millet. So much so that even a section of the exhibition of Gauguin and Van Gogh is dedicated to the relationship between the Van Gogh and Millet. It will then be incredibly possible to compare, in the same location of Santa Giulia, just a few steps away from each other, the works of Van Gogh and those of Millet, who were the first essential source of inspiration. The selection of sixty masterpieces allows to reconstruct a picture of the artist's career, from the early works dating back to the early forties to those of the penultimate year of his life, 1874.This will make it possible for the first time to realize the development of his language, wrongly classified as the creator of the epic of the fields. The interest of the exhibition is all about so that you can check the various stages of the life of this artist, the so-called "flowery way" for the first time. passes in the second half of the forties, discovery and celebration of the life of the peasants felt, to return, to the last days of his life in a pure contemplation of nature. Lastly, there will be less of a surprise visitor admiring the pastels of Millet that, just in the mid-sixties, maybe reach the level of quality of its production as a whole. This, too, can discover in Millet's excellent designer, even before the great painter, is another reason for pride in offering the Italian public for the first time, his most important works. An event which, really, is unprecedented for Italy.