Breton, Jules
Aiton's Encyclopedia (1910)
bre-ton', Jules (1827-1906), a French painter. He was educated at Douai and in a studio in Paris. The subjects of his earlier pictures were taken from the French Revolution . Later, following the example of Millet, he turned his attention to peasant life. Some of his more famous paintings are The Angelus Bells, The Song of the Lark, and The Shepherd's Star. A number of Breton's pictures have been purchased by Americans. The Angelus Bells hangs in the Chicago Art Institute. The Gleaners is owned by James J. Hill of St. Paul; The Evening Call by Thomas B. Walker of Minneapolis. Breton fared well financially. For a time he painted under a contract with a Paris art dealer who took his canvases at $2,500 each. Later, when he could afford to do so, he held his pictures at a still higher price. The Communicants sold lately at $48,000. The pictures painted for the art dealer mentioned, now that Breton is dead, command $25,000 readily. The work of Breton is often compared with that of his friend, Jean Francois Millet, who also painted peasant life. See Millet ; Millais ; Bonheur Millet, a peasant himself, showed the life of his people with the feeling of one in whose veins was the blood of peasants; Breton, the man of the middle class, drew them as one who had learned to love these simple people by long meditation on their lives, and worship of nature to which they seem so near. The dignity of labor, the rewards of toil are in Breton's pictures, the lovely, the ideal side of the lives of these workers. We might write under all his peasant pictures: "From labor health, from health contentment springs;" under those of Millet: "In the sweat of thy face shalt thou eat thy bread"--the primal curse.
What Has Changed in the Last Century
When Aiton's wrote this in 1910 Breton was one of the best-paid painters alive, his canvases going at $2,500 apiece under contract and The Communicants having just sold for $48,000 — a sum then rivalling any living artist's. That market did not survive modernism: as taste turned against Salon naturalism, Breton's prices collapsed in real terms through the mid-twentieth century, and while academic painting has been rehabilitated by museums and collectors since the 1970s, his best works now fetch a small fraction of what 1910 buyers paid once inflation is reckoned. The comparison with Millet, which Aiton's set out so carefully, has hardened permanently in Millet's favour. What did survive is one picture: The Song of the Lark (1884) in the Art Institute of Chicago, still among the most-visited American museum paintings, and the source of the title of Willa Cather's 1915 novel.
Written for this edition, 2026.