Peasants Bringing Home a Calf Born in the Fields

Paris, Salon, 1864, no. 1363. Chicago, Worlds Columbian Exhibition: Loan Collection: Foreign Masterpieces Owned in the United States, 1893, no. 3063. The Art Institute of Chicago, Century of Progress, Exhibition of Painting and Sculpture, June 1-November 1, 1933, cat 250. The Art Institute of Chicago, Century of Progress, Exhibition of Painting and Sculpture, June 1- November 1, 1934, cat 196. Paris, Centennale de l’Art Français, 1889, cat. 524. Paris, Galeries nationales d’exposition de Grand Palais, Jean François Millet, October 17, 1975-January 5, 1976, cat. 164 (ill.). London, Hayward Gallery, Jean François Millet, January 22-March 7, 1976, cat. 88 (ill.). Tokyo, The Seibu Museum of Art, The Impressionist Tradition: Masterpieces from the Art Institute of Chicago, October 18-December 17, 1985. cat. 9 (ill.), traveled to Fukuoka Art Museum, January 5-February 2, 1986 and Kyoto Municipal Muesum of Art, March 4-April 13, 1986. Tokyo, ASAHI, Masterworks of Modern Art From The Art Institute of Chicago, cat. 3 (ill.), 1994, traveled to Nagaoka, Niiagata Prefectural Museum of Modern Art; Nagoya, Aichi Prefectural Museum of Art; and Yokohama Museum of Art, 1994-1995. Amsterdam, Van Gogh Museum, Fierce Friends: Artists and Animals in the Industrial Age, 1750-1920, October 5, 2005- February 5, 2006; Pittsburgh, Carnegie Museum of Art, March 26 - August 27, 2006. Kansas City, MO, Nelson-Atkins Museum of Art, Impressionist France: Visions of Nation from Le Gray to Monet, October 19, 2013–January 19, 2014; Saint Louis Art Museum, February 22–May 25, 2014, cat. 59 (ill.). Lille, Palais Beaux-Arts Lille, Jean-François Millet, Oct. 13, 2017- Jan. 22, 2018, cat. 34 (ill.).

Catalogue of the Collection of Books, Manuscripts and Works of Art Belonging to Henry Probasco, Cincinnati, Ohio (Cambridge, 1873), p. 398. Alfred Sensier, La Vie et lo’Oeuvre de Je. F. Millet (Paris, 1881), pp. 258, 263-269. C.C. Cook, Art and the Artists of Our Time vol. 3 (New York, 1888), p. 248. Vincent Van Gogh, The Complete Letters of Vincent Van Gogh vol. 3 (Greenwich, 1958), letter p. 521 (early December, 1889). “Drift of the Dog Days,” The Collector 4, 16 (1893), p. 247. “Art Institute of Chicago: II – Modern Paintings: The Henry Field Collection,” Art Amateur 21, 1 (1894), p. 19. “The Henry Field Memorial Collection,” Art Amateur 31, 6 (1894), p. 115. Julia Ady Cartwright, Jean François Millet (London 1896), pp. 250 ff, 264 ff, 370. Alfred Sensier, Jean-François Millet (1896), p. 170-171. William M. R. French, “The Permanent Collections in the Museum of the Art Institute of Chicago,” Brush and Pencil 1, 4 (1898), p. 81, ill. Charles Francis Browne, "The Permanent Collections in the Museum of the Art Institute of Chicago: IV - The Henry Field Memorial Collection," Brush and Pencil 2, 1 (1898), pp. 2 (ill.), 7. “Chicago, ILL.: The Art Institute of Chicago,” in American Art Annual 1898 (London: Macmillan & Co., 1899), p. 140, no. 31. “Jean François Millet,” Masters in Art 1, 8 (1900), p. 35. Frederick Clifton Pierce, Field Genealogy, vol. 2 (Chicago: Hammond Press, 1901), pp. 709, 712, no. 31. Romain Rolland, Millet (London, 1902), p. 4, ill. J. Cartwright, Jean François Millet: His Life and Letters (London, 1902,) pp. 251, 264, 370. “Collection of the Late Me. J. Staats-Forbes,” Burlington Magazine 5 (1904), ill. The Art Institute of Chicago, Historical Sketch (Chicago, 1904), p 15 (ill.). The Art Institute of Chicago, General Catalogue (Chicago, 1907) no. 131 (ill.). Kenyon Cox, Artist and Public (London, 1914), pp. 63f (ill.). Arthur Hoeber, The Barbizon Painters (1914), p. 59. Etienne Moreau-Nelaton, Millet, raconté par lui-même (Paris, 1921) vol. 2, pp. 73f, 115, 117, 144, 154 (ill), 160-162, vol. 3, pp. 115, 117. “ Millets in the Art Institute,” The Art Institute of Chicago Bulletin 18 (1924), pp. 88, 89 (ill.). The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collections (Chicago, 1925), pp. 50-51 (ill.). The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1932), p. 47 (ill.). The Art Institute of Chicago, Masterpieces in The Art Institute of Chicago (Chicago, 1952). The Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 313. Robert L. Herbert, Barbizon Revisited, exh. cat. (San Francisco, California Palace of the Legion of Honor, 1962), p. 45. Robert L. Herbert, “Millet Reconsidered,” The Art Institute of Chicago Museum Studies I, (1966), pp. 43, 45ff, 60-61, 42 (ill.). Robert L. Herbert, “City vs. Country: The Rural Image in French Paintings From Millet to Gauguin,” ArtForum (February 1970), pp. 48, 50. The Cleveland Museum of Art Bulletin (November 1973), pp. 266, 265 (ill.). Peter Bermingham, American Art in the Barbizon Mood, exh. cat (Washington D.C., The National Coalition of Fine Arts, Smithsonian Institute, 1975), p. 75 (ill.). John Minor Wisdom, French Nineteenth Century Oil Sketches: David to Degas, exh. cat. (Chapel Hill, N.C.: William Hayes Ackland Memorial Art Center, University of North Carolina 1978), p. 104, under no. 50. Richard Brettell, French Salon Artists, 1800-1900 (Chicago, 1987), pp. 49, 50 (ill.), 119. Chantal Georgel, Millet (Paris: Citadelles & Mazenod, 2014), pp. 306, 308–9, fig. 295. Simon Kelly and April M. Watson, Impressionist France: Visions of Nation from Le Gray to Monet (Saint Louis Art Museum, Saint Louis, Missouri and The Nelson-Atkins Museum of Art, Kansas City Missouri, 2013) pp. 184-186, cat. 59 (ill.). Bruno Girveau, Chantal Georgel, Régis Cotentin, Jean-François Millet, exh. cat. (Réunion des musées nationaux-Grand Palais, 2017), p. 25, 70-71, 141, cat. 34.