Jean-François Millet 1856 - 1858

Editor: This is Nadar’s photograph of Jean-François Millet, a gelatin silver print from around 1856 to 1858. It's a very direct portrait. What strikes me most is the intensity in Millet's eyes, it feels very…present. How do you interpret this work? Curator: That intensity speaks volumes, doesn't it? But let's unpack it. Nadar wasn't simply capturing a likeness; he was constructing an image of a man deeply connected to the land and to his labor. Consider Millet’s politics: his paintings often depicted rural life, highlighting the dignity—and sometimes, the struggles—of peasants at a time when industrialization was drastically reshaping French society. Do you think Nadar’s portrait resonates with these themes? Editor: Absolutely, there’s a grounded quality to him, even in a studio portrait. I see what you mean. Was Nadar also interested in the politics of labor? Curator: Precisely! Nadar was a radical himself, a staunch republican. This portrait is a deliberate act of elevating Millet, a painter who dared to depict the working class with respect. By photographing Millet, Nadar wasn't just documenting an artist; he was aligning himself with Millet’s artistic and political vision. Think about the act of portraiture itself – who gets their image preserved, and why? This image challenges the conventions of the time. Editor: So, the photograph is an assertion of Millet’s importance and the value of the subjects he painted? Curator: Exactly! And more broadly, it asks us to consider who gets to be seen, who gets to be remembered, and what stories we choose to tell. It’s a question that still resonates powerfully today. Editor: I never thought of it that way before. It’s like the photograph itself is taking a stand. Curator: Indeed. And that’s where art history meets activism, inviting us to see beyond the surface and engage with the deeper currents of power and representation.