Note 6 — II POST-IMPRESSIONISM

How little the world cared for Millet when he lived is a matter of history. He painted his greatest pictures in a room without a fire, in straw shoes, and with a horse blanket on his shoulders, and often he and his wife went without food. “All his efforts to exhibit in Paris were in vain. Even in 1859, ‘Death and the Woodcutter’ was rejected by the Salon. The public laughed, being accustomed to peasants in comic opera, and, at best, his pictures were honored by a caricature in a humorous paper.” His pictures brought from fifty to sixty dollars.