torals of the eighteenth century, while his technically as-
sured portraits foreshadow his realist tendencies. Millet's
first naturalistic pictures, such as Return from the Fields
(Cleveland Museum of Art), which date from 1846, in-
troduced a more somber palette and severe style. In 1849
Millet and his family moved to Barbizon. He produced
paintings and drawings depicting scenes of farm labor
and simple rustic life which convey a sense of grandeur
and nobility of spirit. His major works, including The
Gleaners (1857; Paris, Louvre) and Harvesters Resting
(1853; Boston, Museum of Fine Arts), received reactions
ranging from acclaim to hostility for what were per-
ceived as his socialist leanings. In later years the landscape
as motif became increasingly important to him as did the
innovations of the nascent Impressionist school, as can
be seen in Spring (1868-1873; Paris, Louvre).PIETER MOLIJN
London 1595-Haarlem 1661
After emigrating to Holland at an unknown date, Molijn
became a lifelong resident of Haarlem, joining the guild
of Saint Luke there in 1616 and serving as dean in 1633,
1638 , and 1646. His early style was strongly influenced
by that of Esaias van de Velde and Jan van Goyen, whom
he probably met around 1617 while the latter was the for-
mer's student. Molijn's work, together with that of van
Goyen and Salomon van Ruysdael, represents the climax
of pictorial realism in Dutch landscape painting. His
most innovative period occurred during the I02os, when
he produced paintings and etchings of dunes and the flat
countryside around Haarlem which are unified by prom-
inent diagonals leading the eye into space, as in Landscape
(1629; New York, Metropolitan Museum of Art). He
made many drawings, particularly during his maturity,
and they are almost always signed and dated.JEAN-MICHEL MOREAU THE
YOUNGER
Paris 1741-1814
Moreau, a draughtsman and engraver, came from a fam-
ily of artists. Intent on becoming a painter, he studied
with L.-J. Le Lorrain, following him in 1758 to Saint Pe-
tersburg to collaborate on theater designs and to teach
drawing at the Académie des Beaux-Arts. Returning to
Paris in 1759, Moreau joined the studio of the engraver
Jacques-Philippe Lebas. His official positions included
dessinateur du cabinet du roi in 1770 and dessinateur des menus
plaisirs in 1790. Assuming the role of unofficial histo-
riographer of his time, Moreau engraved royal and civic
ceremonies, including the coronation oath of Louis XVI
(1775), and his prints provide a valuable record of the last
years of the ancien régime. In addition he produced en-
gravings for book illustrations, including two series of
the Monument du costume (1777, 1783), and Les oeuvres de
Rousseau (1774). He exhibited regularly at the Académie
from 1781 to 1810 and was elected a full member in 1789.
Moreau visited Italy in 1785 and was elected professor at
the Ecole Centrale in 1797.NICOLO DELL'ABATE
Modena 1509/12-France 1571
As a youth, Nicolô trained with the decorator Antonio
Begarelli in Modena before moving in 1548 to Bologna,
where the art of Parmigianino exerted a strong influence
on him. His major commissions, including the frescoes
illustrating the Orlando Furioso (1548 -1550) in the Palazzo
Torfanini and the genre scenes in the Palazzo Poggi, re-
veal his talent as a decorator and illustrator of contem-
porary aristocratic life. Nicolô moved to France in 1552
to work with his compatriot Francesco Primaticcio at the
court of Fontainebleau. His elegant Mannerist style, as
seen in the decorations there, influenced French artists of
the following generation. He continued to work for the
French court until his death.ADRIAEN VAN OSTADE
Haarlem 1610-1685
Van Ostade was the son of a weaver and the elder brother
of the talented painter Isack van Ostade. A lifelong res-
ident of Haarlem, he joined the guild of Saint Luke
around 1634 and was made commissioner in 1647 and
1661, and dean in 1662. The remark of his biographer
Houbraken that van Ostade and the Flemish low-life
painter Adriaen Brouwer were fellow pupils in the studio
of Frans Hals is supported by Brouwer's evident influ-
ence upon the early peasant scenes of van Ostade. He also
developed a forceful chiaroscuro indicative of an ac-
quaintance with the work of Rembrandt. In later pic-
tures such as Villagers Merrymaking at an Inn (1652; Toledo
Museum of Art), van Ostade abandoned his early im-
agery of coarse debauchery, preferring rustic interiors
with carefully structured spaces, picturesque clutter, and
figures that are calmer and more respectable than his ear-
lier types. He also made etchings and was a prolific
draughtsman.ISACK VAN OSTADE
Haarlem 1621-1649
A native of Haarlem, Isack studied with his elder brother,
Adriaen, and joined the Haarlem painters' guild in 1643.
He died in 1649, having shown great talent and original-
ity during a career that lasted only a decade. While his346 ARTISTS' BIOGRAPHIES