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Jules Breton (born 1 May 1827 - died 5 July 1906)
As one of the primary academic painters of the nineteenth century, Jules Breton evolved a painting style that combined a realist selection of thematic material with an interest in creating figural types that reflected the idealism of the classical traditions. His paintings were often regarded as containing poetic references and his compositions suggest a timeless world where the workers of the field symbolically were linked with literary elegies that evoked their best qualities. Although his works were out of favor for a long period of time, and his compositions were often used as convenient examples of so-called "bad-painting" by supporters of the modernist camp who panned any style whose goal was to portray the trials of the human condition instead of being dedicated to destroying the definiing characteristics of great traditional art. Breton's celebration of human values of work, family, home and hearth did not fit into their nihilistic paradigm, despite his poignant and poetic themes painted with a compositional force and sophistication of technique that clearly places him amongst the greatest artists of his time. Breton's paintings have returned to public consciousness through recent exhibitions and an interest in collecting his works by private patrons and museums. He is an artist who has benefitted greatly from the long over due revisionist reappraisal of nineteenth century academic painting.
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| Afternoon Repast |
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| Asleep In The Woods |
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| At the Fountain |
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| Evening in the Hamlet of Finistere |
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| Girl Guarding the Cows |
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| Harvesters |
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| Les Corbeaux, Soir D'Orage |
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| Mise En Tas Des Oeillettes |
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| On the Road in Winter, Artois |
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| Souvenir de dour Amenez |
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| Summer |
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| The Communicants |
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| The Departure for the Fields |
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| The Grape Harvest at the Chateau-Lagrange |
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| The Last Gleanings |
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| The Potato Harvest |
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| The Rainbow |
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| The Reapers |
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| The Recall of the Gleaners |
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| The Rest of the Haymakers |
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| The Shepherd |
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