Charles Francis Adams became acquainted with Francis D. Millet through work, and they were good friends. He relates some memories with Francis and some information about his character. Pages with Frank Millet mentioned are 183-184, and 208. No mention of art or illustrated artwork within the autobiography.

PDF: Adams, Charles Francis Jr, Charles Francis Adams, 1916

This source is a report about the Vienna Exposition and the Philadelphia Centennial given by the commissioner of Massachusetts. The source begins by listing the men who were appointed to the Commission for the Vienna Exposition. Millet is mentioned to have been approved for the position of secretary on March 19, 1873. This was just as he was completing his time at the academy in Antwerp.

PDF: Adams, Charles Francis Jr., The Vienna Exposition, 1874

This source lists members of Massachusetts’ infantries from the American Civil War. FD Millet could not be found in the list of soldiers from the 60th infantry. However, there is a Francis B. Millet listed. This could potentially be FD Millet; however, the age listed does not coincide with his supposed age that year.

PDF: The Adjutant General, Norwood Press, 1932

This is a book of poems by Thomas Bailey Aldrich. As mentioned in the Art Amateur article “New Publications” from December 1882, an illustrated engraving on page 59 is attributed to and signed by F.D. Millet and is titled Dressing the Bride. There is no information about the engraving itself, just the poem that goes along with the engraving that has the same title. The poem talks about a slave helping a woman get ready for her wedding, dressing her in all of her finery and jewels.

PDF: Aldrich, Thomas Bailey, The Poems of Thomas Bailey, 1907

This book is mainly about the American artist, John McLure Hamilton. He was a younger contemporary of Millet and they did know each other. Hamilton followed a similar educational path as Millet, going to Antwerp and landing in England for some time. Millet was advised against his artistic versatility, but Hamilton was praised for it and it is what made him so successful (206). It is possible that Millet had an influence on Hamilton, paving the way for successful artistic versatility. No reference to any of Millet’s paintings/artwork.

PDF: Alperin, Richard J., Art’s Anglo-American Paper Lion, 1993

In this memoir, Mary Anderson recounts stories from her life. Anderson mentions Frank’s costumes that left her “entirely satisfactory,” and she provides an illustration of her From Profile Sketch by F.D. Millet.

(Access: https://babel.hathitrust.org/cgi/pt?id=uc2.ark:/13960/t1xd0th1q&seq=9)

PDF: Alperin, Richard J., Art’s Anglo-American Paper Lion, 1993

This source mentions various genre scenes throughout and Millet is mentioned on pages 75-78, 80-83, 150-152, 170-178. It gives some detail on his non artistic endeavors such as his writings and it does talk about his death on the Titanic in 1912, and the following paintings are mentioned: After the Festival, The Poppy Field.

PDF: Ayres, Linda, The American Figure, 1981

This book discusses American art from Colonial beginnings to the post-Civil War period ending in 1860. Millet is mentioned in the context of Amerind art when he was commissioned to decorate a wall in the Minnesota State Capitol. The title of his mural is not listed or illustrated.

PDF: Barker, Virgil, American Painting, 1950

This book is somewhat like a diary, sharing Barrie’s important life moments and even the mundane moments. Barrie was a publisher at the time and goes into depth about his experiences with Francis Millet. This log shows off Millet’s personality and character as a friend and a businessman. The earlier pages express excitement and a longing for travel while the end of the log emotes sadness for the changes of the world during the time from both Barrie and Millet. This work does not go into detail about Millet’s artistic side; however, this gives great detail into the character of Millet.

PDF: Barrie, Robert, My Log, 1917

This book compiles events and artworks pivotal to the life of Lawrence Alma-Tadema, a Dutch painter. It mentions on page 120 that Alma-Tadema would regularly visit the home of Frank Millet and his wife to get away from official duties. This is the only mention of Francis Davis Millet in the book.

PDF: Barrow, R. J., Lawrence Alma-Tadema, 2003

This book discusses the renewed American interest on the past and document the rediscovery of America through art and literature. Betsky examines many American artists and points out specific features of their work that show this interest in the past. This list of artists includes Frank D. Millet, Thomas Wilmer Dewing, Edward Lamson Henry, and more. The works included by Frank D. Millet are Cosey Corner, Portrait of a Lady in a Costume of 1740, Grandpa’s Visit, and At the Inn. The work that is illustrated is Cosey Corner.

PDF: Betsky, Celia, Inside the Past, 1985

The Pennsylvania Academy of Fine Arts organized an exhibition based on the 336 paintings submitted by Americans to the Universal Exposition in 1889. Two works by Millet that are included in this exhibition and illustrated in this book are A Handmaiden, 1886, and A Difficult Duet, 1886. In addition to a description of these works, this book includes a summary of Millet, schooling in Antwerp, the Broadway group, his mural paintings, his administrative posts and his preference for painting historical domestic scenes and genre paintings. Specifications and provenance of the paintings are included, as well a bibliography for the summary of Millet.

PDF: Blaugrund, Annette, American Artists at the Universal Exposition, 1989

This catalog is a volume of the works of American paintings in the Met at the time of its publishing. Millet is mentioned on pages 3-7 of the work. Pages 3-4 talk about his life, and his various projects and endeavors. On pages 5-7 it goes into great detail of The Cosey Corner, and the painting is also pictured on page 6, and there is a sketch of the painting on the top of page 7 as well.

(Access: https://www.metmuseum.org/art/metpublications/American_Paintings_in_The_Metropolitan_Museum_of_Art_Vol_3_A_Catalogue_of_Works_by_Artists_Born_be)

PDF: Bolger Burke, Dorren, Francis Davis Millet, In American Paintings in the Met, 1980

(Access: https://www.metmuseum.org/art/metpublications/In_Pursuit_of_Beauty_Americans_and_the_Aesthetic_Movement)

(Access: https://archive.org/details/bostonartclubfin1880unse/page/n5/mode/2up)

(Access: https://archive.org/details/americanrenaissa00broo/page/32/mode/2up)

Access:

Volume 1: https://babel.hathitrust.org/cgi/pt?id=uc1.b000916636&seq=5&view=1up&q1=Millet

Volume 2: https://babel.hathitrust.org/cgi/pt?id=uc1.c004163308&seq=11

In this book Millet writes about being the director of decoration for the World’s Fair. He breaks down pricing for items, as well as a detailed list of all the decorations and where/why it would be installed in certain locations. He writes the whole chapter “Report of the Director of Decorations & Functions” pages 57-83.

PDF: Burnham, Daniel H., The Final Official Report, 1989

This was a collaborative book written by both Burnham and Millet as they worked on the Chicago World’s Fair together. While the writings don’t specifically mention Millet’s influence in the World’s Fair, we do see that he was an integral part of the decoration planning for the fair because of the immense amount of detail that he writes about. He goes over almost every ornamental element of the fair, mostly that of Greco-Roman design which he is well versed in. His writings also show his ability for detailed journalism.

PDF: Burnham, Daniel Hudson and Francis Davis Millet, The Book of Builders, 1894

Carr describes the various artworks displayed at the fair, including paintings, sculptures, and decorative arts, and examines how they reflected the social, cultural, and political context of late nineteenth-century America. Millet is mentioned throughout the book, explaining his involvement in exhibitions, as an architect, and on art committees. Works that were used in exhibitions or important pieces for America at the time are listed, including works by Millet. Anthony Van Corlear, the Trumpeter, Lacing the Sandal, The Window Seat, Old Harmonies, Rook and Pigeon, At the Inn, and A Difficult Duet are reproduced, including background information of Anthony Van Corlear, The Trumpeter.

PDF: Carr, Carolyn Kinder, and George Gurney, Revisiting the White City, 1993

F.D. Millet is mentioned in the Descriptive Index to the Illustrations. In the Bay of Naples is described in detail as a study of the interior of a market boat crossing from Capri to Naples, set against the distant backdrop of Vesuvius and the shoreline villages. The life-sized figures are illuminated by the bright, midday sun, creating a vivid composition that transports the viewer to the Bay of Naples. The entry indicates Millet contributes two other pictures to the Centennial

Album: Portrait of a Lady in the Costume of 1740 and Turkish Water-Seller. (Access: https://archive.org/details/massachusettsart00cham/page/n7/mode/2up)

PDF: Champney, James W. and Frank D. Millet, Massachusetts Artists, 1876 

Child discussed art of various French artists. There is a section dedicated to American Artists at the Paris Universal Exhibition of 1889. Child mentions Millet’s A Handmaiden, A Difficult Duet, and The Piping Times of Peace. The latter was displayed in the English department of the exhibition rather than the US section. The Piping Times of Peace is illustrated on page 132. Love Letter is mentioned as having been exhibited at the Royal Academy in 1888.

PDF: Child, Theodore, Art and Criticism, 1892

This is a book that compiles Thomas Clarke’s collection of American paintings. The introduction emphasizes importance of art, how art had shifted in American art, and Clarke’s involvement in the art world. Clarke is also highlighted as an esteemed collector and supporter of the arts by receiving grants to award the winning American artist funds to continue producing art. Lacing the Sandal by Millet is listed in the collection alongside a brief description of Millet and where he practiced his craft. There is not much information on Millet as it focuses more on Clarke and his dealings as a collector.

PDF: Clarke, Thomas, The Private Collection, 1883

Describes Millet as a versatile person who created works that fit many movements. Expresses that he was good with color and could build upon his teachings of Dutch art through the use of color. Goes into detail with this idea in Between Two Fires. This article gives a great description of the piece and also mentions At the Inn, Rook and Pigeon and describes the people Millet painted and how they are different from his other works. Other pieces mentioned are Anthony Van Corlaer, the Trumpeter of New Amsterdam, (influences of Dutch architecture) and The Black Hat (possible use of his daughter as a model). Among Millet’s easel pictures are a considerable number with Greek and Pompeian themes. Talks about Millet’s mural paintings.

PDF: Coffin, William A., Francis Davis Millet’s Easel Pictures, 1912

Volume 2 – Cook mentions Frank Millet in another costume detail. In the reading an artist is referencing old costumes for their work and Millet is also mentioned for correctly displaying and discussing Ancient Greek and Roman costuming by scrunching up the material when wet and then letting it loose creating a more authentic look to the fabric. No mention of Millet’s specific work/artwork

Volume 3 – Cook describes the importance of American artists in and out of Europe. Frank Millet is mentioned by being well known in the states as well as in England. The author touches on his home in Broadway and his studio that he renovated. Cook also talks about Millet’s lectures on costuming and his knowledge of genuine Greek and Roman costuming on live models. This is an overall good source for Millet’s achievements as an artist, teacher, and writer. The passage discusses generally his paintings of Greco-Roman women figure. It describes No Unwelcome Guest as one of his many genre scenes and includes an illustration of the painting.

Volume 4 – Mentions exactly the same thing about Millet that Volume 2 says. Same pages as well.

Volume 6 – Mentions exactly the same thing about Millet that Volume 3 says. Same pages as well.

(PDF: Cook, Clarence, Art and Artists, v. 2) 

(PDF: Cook, Clarence, Art and Artists, v. 3) 

(Access: https://babel.hathitrust.org/cgi/pt?id=uc1.$b279003&seq=301&q1=millet)

This source mentions many of Millet’s accomplishments briefly. This book mentions a memorial that was made for Charles Hempstead Plumb 1829—1900 Mert Heaton Plumb 1833-1916 by FD Millet. It is of a Christian soldier with a splendid blue window of a Christian warrior, a Knight in Armor, claimed to be one of the handsomest in the Church.

(Access: https://archive.org/details/stpaulschurchsto00cres/page/4/mode/2up)

PDF: Cresson, Margaret French, St. Paul’s Church, 1960

This catalog features several paintings from the Manoogian Collection found at the National Gallery of Art in Washington D.C. One of the paintings in this collection is The Window Seat, 1883 by F.D. Millet. A nice color illustration is included of this piece as well as a detailed summary, highlighting this work as a masterful painting of light which Millet highly valued. A summary of Millet’s life is included in the artist biography and addresses his work as a painter, writer, war correspondent and as well as other professional accomplishments. The biography mentions the painting Reading the Story of Oenone as Millet’s first painting entered into a public museum collection. It also lists The Granddaughter, 1885 and Between Two Fires, 1891 as examples of historical genre scenes for which Millet was known.

This book is a series of pages of the development of America as shown through the paintings of F. D. Millet. Each painting by Millet is accompanied by a description. These paintings consist of thirteen panels, and it took more than a year to complete. Millet and his assistants worked from morning until night, as described by Leila Mechlin. The panels were made for The Cleveland Trust Company building. The paintings by Millet mentioned are not named but labeled and illustrated on each page as follows: The Norse Discoverers, The Puritans, Exploration by Land, LaSalle on Lake Erie, Father Hennepin at Niagara Falls, Exploration by Water, Migration, Buying Land from the Indians, Surveying the Site of Cleveland, Felling the Timber, Building the Log Cabin, Plowing the Clearing, and Gathering the Harvest.

PDF: The Development of Civilization in America, The Cleveland Trust Company, 1908

This course presents a comprehensive exploration of Orientalism in America during the late nineteenth and early twentieth centuries. The book examines the fascination and romanticization of the Orient in American art, literature, and culture during this period. Millet is mentioned on page 168 saying that Millet was not an Orientalist; rather, he was a man that was fascinated with life. His work The Turkish Water Seller, 1874 is described as a work that does not tell a story or convey a weighty message but is a piece about surfaces, colors, and textures. The Turkish Water Seller is illustrated in color on page 169.

PDF: Dreishpoon, Douglas and Susan E. Meneoni, The Arts of the American Renaissance, 1985

This book is a self-published biography of Francis Davis Millet written by a historian who owned and lived in Millet’s former studio in East Bridgewater, Massachusetts. The book provides a chronological history of major events in Millet’s life from birth to death accompanied by excellent photographs of Millet, his family and friends, and other locations and events of his life.

This source lists paintings exhibited in the 1880 exhibition, including George Maynard’s Portrait of the War Correspondent of the London Daily News and works by for sale Millet: Corinna, Sweet Mistris Melody, and Chloe.

(Access: https://babel.hathitrust.org/cgi/pt?id=hvd.32044062722574&seq=7)

In the section of the book that mentions Millet, it is mainly about the artist Otto Grundmann.

Millet is discussed possibly having helped Otto to move away from only painting genre scenes and influenced him to teach at the Museum School in Boston. Millet is also mentioned to have supported William Morris Hunts teaching and supports the idea that all American artists would benefit from spending time in Europe, much like he did. This is a good source to see how Millet was influential amongst other artists during his time. His work is not mentioned in this writing.

PDF: Fairbrother, Trevor J. ed., The Bostonians, 1986

The world’s fairs and expositions held from 1851 to 1988 are discussed in this book. It includes an overview and summary are given of the World’s Columbian Exposition in Chicago in 1893. Millet is mentioned only once in this overview for the part he played in enlisting many of the best-known American artists and sculptors to work on the decorative details for the exposition. No illustrations or specific artworks are mentioned.

PDF: Findling, John E., Historical Dictionary, 1990

This catalog provides a comprehensive examination of the academic tradition in American art, shedding light on its development, influences, and key figures. On page 106 Millet is noted for his involvement in the American Academy in Rome that was founded in 1894. He is again mentioned on page 116 as he was a lecturer on Roman costume. On page 117 Millet was noted as being a lecturer on antique costumes in 1887-88. On page 206 his work Queen of the Feast 1884 is mentioned and illustrated as it was exhibited at the National Academy of Design.

PDF: Findling, John E., Historical Dictionary, 1990

This exhibition catalog displays a variety of works from the First Exhibition of Contemporary American Oil Paintings, held at the Corcoran Gallery. Millet’s paintings are mentioned extensively throughout the catalog. It first mentions his work Rook and Pigeon from 1907 on page 36 in Gallery C. It was lent to the exhibit by Mr. H. McKown Twombly. It then mentions A Lily of the Field on page 69. Unfortunately, the catalog does not state the date of creation. On page 76, it displays the full name and address of Millet, who was residing in New York City at the time. On page 30 of Gallery B, Millet’s work The Black Sheep is featured. The date this work was created is unknown. Millet is mentioned as chairman of the Jury who decided the recipients of awards for those who exhibited in the Corcoran Gallery. Millet is again featured in Gallery G, page 71. This time, Millet is exhibiting A Skirmish, a work lent to the exhibit by John J. Waterbury. This is also a lost work. Gallery G also features his work The Trap, which has also been lost. On pg. 72 of the final section of the book, Millet is shown having an updated address, this time in Washington D.C.

PDF: First Exhibition of Contemporary American Artists, Corcoran Gallery, 1907

This catalog examines how Francis Davis Millet, along with other notable figures such as John Singer Sargent and Edwin Austin Abbey, represented the United States at the 1900 Paris Exposition. Despite residing in Europe, Millet and his fellow expatriates were determined to exhibit as U.S. citizens, a decision that ultimately prevailed after a ruling by French authorities. Millet’s contributions to the exposition included serving as a class juror and supervisor of decorations in the U.S. pavilion, where he insisted on using Colonial furnishings. This decision coincided with a transition in his artistic focus from British themes, as seen in works like Unconverted, to American subjects.

This is an exhibition catalog for the 14th Annual Exhibition of the American Water Color Society in New York from 1881. Millet had 2 pieces displayed: Embroidery, and A Helping Hand. Embroidery is illustrated in a collage with several other illustrations.

(Access: https://archive.org/details/1881AWS)

PDF: Fourteenth Annual Exhibition, 1881

The National Cyclopaedia of American biography gives a history of the United States by highlighting the lives of major figures who contributed to the U.S. including artists like Millet. The section on Millet begins with Millet’s family lineage, his Civil War service, and Harvard education. While in Boston he worked in newspaper and practiced lithography and portraiture. Millet then studied at the Royal Academy of Fine Arts in Antwerp and traveled extensively in Europe until 1876 when he returned to the U.S. He assisted John La Farge in decorating Trinity Church in Boston, showcasing his talent in mural painting and created a formula for painting in a wax medium. Millet also demonstrated his skill in stained glass design with the window he created for the Harvard Memorial Hall. Praised for his versatility, he contributed as a war correspondent during the Russo-Turkish war and ventured into literature with “Capillary Crime and Other Stories” (1892). Millet returned to England and spent time with artists like Sargent and Alma Tadema, exhibiting his work there and in the U.S. Appointed director of decoration at the World’s Columbian Exposition in Chicago in 1892, his murals earned acclaim, leading him to focus more on this genre. Notable works include the lunettes in the Liberal Arts Building and in the New York State Building and murals for the Baltimore Customs House, the New Bedford Public Library, the State Capitol at St. Paul, Minnesota, the courthouse at Newark, and the Federal Building at Cleveland. His portraits and English genre paintings, like Anthony Van Corlaer, the Trumpeter of New Amsterdam, Between Two Fires, At the Inn, Rook and Pigeon, The Black Hat, and Wandering Thoughts, highlight his style and color schemes. His influence on decorative art in America is evident, notably through his masterpiece the Baltimore Customs House murals. The section concludes with his numerous awards, memberships, and the positions he held in art academies.

The Dictionary of American Biography has biographies of major American figures, including biographies on artists like Millet. Millet is mentioned in a footnote for the section on Januarius Aloysius MacGahan. Millet is mentioned as one of the founding members of the Kinsmen social club in the section on James Brander Matthews. Millet is mentioned as the friend who accompanied George Willoughby Maynard on a long journey through southeastern Europe in 1873. Maynard also completed a portrait of Millet while teaching drawing classes. Millet has a section dedicated to him as well that describes him as painter, author, and war correspondent. The section mentions his early education, his travels in Europe and in the Far East, and his later career and death on the Titanic. It mentions his writing and lists the various positions he held and awards he received in his lifetime. The works by Millet mentioned are a portrait that he painted of Mark Twain, murals for the Minnesota and Wisconsin capitols, a mural for the Baltimore Custom House, a mural for the Cleveland Trust Company.

This collection of memories by an artist’s wife is really fascinating to read. Mrs. French gives many different anecdotes about being surrounded by different artists and the kind of life she lives traveling and meeting many different people. She is very candid through much of her writings, and when it comes to Frank Millet, she is a good source for personal references to his character. Millet is portrayed by Mrs. French as truly caring and lovable. She mentions several times that Millet was one of the most notable people to come across. There is also reference to his interactions with President Roosevelt and a brief mention of his involvement in the Chicago World’s Fair.

The author discusses how Millet learned painting under Henry Leys and how Leys revitalized painting methods previously utilized by Jan Van Eyck. It also mentions how Millet is responsible for recommending Otto Grundmann as the leader of the painting program at his school. The book features a direct quote from Otto on the courses under Millet’s guiding; “During the time of Mr. Millet’s lectures on Greek costume they painted various studies from the draped figure. I also formed a selected class in composition. Subjects were given, which the students worked out bringing their drawings to be criticized.” The book illustrates these works by F.D. Millet; Seacoast and Grandpa’s Visit, 1885.

PDF: Gammell, R. H. Ives, The Boston Painters, 1986

Gerdts writes about the impact of Impressionism on American artists. Many of them went to France or across Europe to perfect the Impressionistic form. Millet is very briefly mentioned through a long description of Sargent’s work. His house in Broadway is discussed because of Sargent’s work Carnation, Lily, Lily, Rose and how that was a location for inspiration. Gerdts also mentions that Kate Millet was involved with being one of the models for Sargent’s painting. Though Millet is mentioned briefly, it still is a good source about his presence in Broadway and how it was impactful for many of his artist friends. There is no mention of Millets artwork.

PDF: Gerdts, William H., American Impressionism, 1984

Richard Watson Gilder was an American poet, editor, and publicist. This book compiles Gilder’s correspondence with friends and colleagues, providing insight into his life and true personality. Frank D. Millet is mentioned briefly while discussing a “Free Art” consultation summons that had been sent to him by Gilder.

(Access: https://babel.hathitrust.org/cgi/pt?id=hvd.32044011265394&seq=15)

PDF: Gilder, Rosamond, ed., Letters of Richard Watson Gilder, 1916

This is the catalogue of an exhibition in 1999 by the Guild of Boston Artists. This exhibition was the first one of Millet’s works since his death in 1912.

PDF: The Guild of Boston Artists, The Easel Paintings of Francis Davis Millet, 1999

The article “The Importation of Works of Art” outlines F.D. Millet’s writing about a bill presented in the House of Representatives by Mr. Bellmont that works of art from the periodical should be placed on the free list. The paper assumes that Millet and many American artists agree with this bill (p. 99). F.D. Millet is also listed multiple times as an acting judge for Harper’s Weekly. Throughout the publication, Millet is listed as a Superintendent of the Art Department acting as a judge for the Harper & Brother’s art competition. The winner would show in Harper’s Magazine and would be awarded three thousand dollars.

(Access: https://archive.org/details/harpersweekly27harp/page/13/mode/2up?q=tile)

This report is a record of the class of 1869 of Harvard. It provides updates to the lives of the members of the class up to the point the report was written. It includes an update that Frank Davis Millet provided for the report on page 32. In his update, he states that he was the American representative juror in the department of Fine Arts at the Paris International Exhibition in 1878. He lists a few works he painted from 1878-1880. These works include Les Pacificateurs, which was exhibited in the French salon of 1879 and then stolen; A Bashi Bazouk, which was exhibited in the royal Academy and then at the Academy of Design in New York before it was sold to John Jacob Astor; and Baby Worship, which was a historical genre scene exhibited at the Academy of Design in New York, along with his portrait of Miss Kate Field.

This report is a record of the class of 1869 of Harvard. It provides updates to the lives of the members of the class from 1894 to 1901. It includes an update that Frank Davis Millet provided for the report on page 57. In his update, he states he worked for the London Times in 1898 as a special correspondent. The information provided in this update is mostly from his travels to Manila for this job. While traveling, he visited multiple countries like Japan, China, Malaysia, and India. In 1900, he worked on organizing and superintending the decorating and furnishing of the United States National Pavilion at the Paris Exposition. He writes that he finished three pictures for the spring exhibitions but does not list which pictures these are.

This report is a record of the class of 1869 of Harvard. It provides updates to the lives of the members of the class from 1887 to 1894. It includes an update that Frank Davis Millet provided for the report on page 58. This update includes the birth of his son, John Parsons Millet, on July 8, 1887. A large portion of his writing deals with his work as the director of decoration of the World’s Columbian Exposition in Chicago in 1892, and his work conducting the department of entertainments called The Functions. He explains that for the World’s Columbian Exposition in Chicago, he supervised all the decorative painting, mechanical painting, sculpture, and other details of construction.

This book is in memoriam of former members of The American Academy of Arts and Letters and contains names, records, and portraits of the former members. These include John LaFarge, Edwin Austin Abbey, and Francis Davis Millet. The record of Millet is a short biography discussing his professional career as an arts administrator, foreign war correspondent, and artist. His works of art mentioned include Portrait of Charles Francis Adams Jr., Portrait of Samuel Longhorn Clemens, Bashi Bazouk, The Window Seat, A Difficult Duet.

PDF: A Book of Record, American Academy of Arts and Letters

This book discusses the life and career of Thomas Wilmer Dewing. Dewing exhibited one of his works, Morning, at the National Academy of Design. It is mentioned that Millet traveled with Dewing to see this exhibition in New York. Millet was associated with Dewing as he was a fellow instructor at the Museum of Fine Arts.

This book is a compilation of popular 19th century subject matter in painting. The numerous genres help identify more of the unknown American paintings. Francis Davis Millet’s painting The Piping Times of Peace 1887 is shown among other related artworks by different artists under a theme of “Cavaliers.” This shows the high level of interest in the idea of showing a charming and romanticized history in art, of which Millet was a part.

PDF: Hook, Philip, and Mark Poltimore, Popular 19th Century Painting, 1987

This book is a collection of essays, poems, and illustrations that documents the activities and artistic endeavors of the Tile Club, a group of American artists and writers active during the late 19th century. This book highlights many artists who contributed to the club and illustrates the cultural and artistic movements of the time. The book provides insights into the history, philosophy, and creative output of the Tile Club and its members. There is no mention of Millet except for his name in the list of illustrations which show his work is on page nine. There are two sketches on page nine, but neither is labeled so it is unknown which is Millet’s.

PDF: Hook, Philip, and Mark Poltimore, Popular 19th Century Painting, 1987

This source gives some background on the relationship between Kate Field and Millet. It explains that Millet’s Portrait of Kate Field was an important artwork in his career. The source then explains different reviews of the Academy’s 1881 exhibition where this artwork was exhibited. The reviews vary with some of them being more positive than others. Reproduction of Portrait of Kate Field is included.

PDF: Husby, Andrea, Kate Field, Rave Reviews, 2000

This book is about the life of Laurence Hutton and who he met and associated with. Each chapter discusses someone new that Hutton met and what artworks he associated with. The book talks about some of Millet’s life, such as when his son was born. Frank Millet is mentioned on several pages such as 98, 101, 102, 113, 277, and 331. The artwork mentioned by Millet is Portrait of Barrett.

(Access: https://archive.org/details/talksinalibrary02moorgoog/page/454/mode/2up)

This source is about the life and work of Candace Wheeler, a prominent figure in late 19th-century American design. The author discusses Wheeler’s contributions to various aspects of design, including interior decoration, textiles, and furniture. She also explores projects that were being developed at the time such as the Veterans’ Room of the Seventh Regiment Armory beginning in 1879. Millet is mentioned to have created a pictorial frieze high on the walls in the Veterans’ Room.

PDF: Irish, Carol, and Amelia Peck, Candace Wheeler, 2000

This book provides a comprehensive history of American painting from Colonial times up to 1906. Isham discusses the rise of Munich as destination to study art, contrasting it with Antwerp which was favored by artists like Millet for its quieter atmosphere. Millet’s workmanship reflects Antwerp’s thorough art training and inclination for richer coloring and texture. Millet’s submission to the Academy of Design in 1876, as a younger artist, marked a departure from conservative art standards and the start of the New Movement. Later, Isham discusses London’s emergence as a haven for American artists, like Millet, seeking to depict old-fashioned life. Millet was known for his many skills and had a versatile career, traveling all over the world. Isham compares Millet’s work and painting style to Alma Tadema’s work. Millet’s affinity for painting genre scenes of seventeenth- and eighteenth-century England can be seen in his painting of Anthony Van Corlear – The Trumpeter of New Amsterdam. An illustration of Millets painting Between Two Fires is also included. Isham further analyzes Millet’s style and mentions his friendship with Abbey at Broadway. Lastly, Isham writes about Millet’s contributions to mural decoration, including assisting La Farge with the decoration of the Trinity Church in Boston, his role in the Columbian Exhibition of 1893 where he directed the decoration of the Manufactures and Liberal Arts Building, and the decoration he completed for the ceiling of the New York Building.

Henry James wrote this article about the history of the Broadway artists, namely Frank Millet, Alfred Parsons, Edwin Abbey, Charles Reinhart, and others. The title “Black and White” is about how developments in printing technology made it possible for artists to illustrate in articles or newspapers a lot easier, and as such, made it possible for more artists to be seen. James goes through talking about each of the artists of Broadway and mentions some illustrations. However, none of them are done by Millet.

(Access: https://www.gutenberg.org/files/25767/25767-h/25767-h.htm#linkimage-0004)

PDF: James, Henry, Black and White, In Picture and Text, 1893

This is a catalog from the Boston Art Club: 1855-1950 exhibition by the Vose Galleries of Boston, featuring a condensed article by Director of Exhibitions Nancy Jarzombek. Jarzombek lays out the history of the Boston Art Club, which was formed by a group of artists and friends. After the articles, illustrations are presented of many works from the exhibition, including an illustration of Millet’s Fisherman Gathering. The back of the book provides a brief yet thorough summary of F.D. Millet’s education and artistic career.

This book details all the different operations and events that occurred during the World’s Columbian Exposition. Frank D. Millet is mentioned on pages: 134, 146-148, 171, 177-178, 406-407, 474, 478-481. The book talks about his character as a person, and his ability to bring people together for a common goal. It also details his involvement as Director of Color when he was in charge of coloring of buildings inside and outside, the flags, banners, and woven-fabrics of ceremonies, and later was in charge of music, illumination and fireworks. Page 177 details Frank’s involvement of painting the two tympana in the west corner, along with figure subjects in the interior of the music hall and pendentive dome. Page 146 shows Frank Millet working with assistants working to paint one of the promenades. Pages 478-481 details Frank Millet becoming the Director of Function and his various responsibilities. Only one artwork is photographed in the book, and it is the Banquet Hall Mural for the New York State Building. The photo shows Frank working with assistants in creating the mural.

PDF: Johnson, Rossiter, A History of the World’s Columbian Exposition, 1897

F.D. Millet is mentioned as being an inspiration to W.B. Closson with his “pastel quality of a figure.” Millet is credited as assisting with the decoration in the Henry H. Richardson Trinity Church of Massachusetts. He is mentioned in two other architectural spaces as contributing to the painting and decoration for the N.Y. State building in the Chicago Fair and painting the ceilings in the N.Y. State panel for the Chicago Exhibition.

(Access: https://archive.org/details/in.ernet.dli.2015.234133/page/n19/mode/2up)

In this book Kammen talks about Americans’ intrigue with the past and how many Americans look to the Colonial past for inspiration and tradition. For reference to Millet, it is a good source to understand his devotion to authenticity. Kammen talks about Millet’s house in East Bridgewater and how he modeled his kitchen after early American Colonial kitchens by using authentic materials. Kammen mentions Millet’s work At the Inn and how Millet wanted to get Colonial references correct, so he used his authentically renovated Colonial kitchen as a visual reference for the painting.

PDF: Kammen, Michael, Mystic Chords of Memory, 1991

This book discusses the journey of many notable expats trying to find their place going back to England. It is a good source for many artists, authors, and creative thinkers who had the romantic idea to go back to their roots but seemed somewhat unsatisfied to stay in England and went back to America for good. For reference to Millet, it is a good source for his life and time in Broadway. Kenin discusses Millet’s interest in renovating/refurbishing old buildings like his studio in Broadway. This love of nostalgia is noted by Kenin through Millet’s love of painting genre scenes. There is a photograph of Millet’s gardens at Russell house. The author describes what it was like in Broadway for Millet and his friends, painting between cricket matches, times full of laughter, and having a lovely hostess of the house, Lily. Kenin also mentions how Millet’s paintings were a bit romanticized like his contemporaries, portraying the aristocracy without any struggle, a life of beauty and ease. The author states that Millet is remembered as a good artist. Art mentioned and illustrated – Between Two Fires.

PDF: Kenin, Richard, Return to Albion, 1979

As the title suggests, this book is an overview of American mural painting and examines the most important works of decorative mural paintings. She looks at many mural painters throughout the book, including Francis Davis Millet. Of his works, King discusses his Thesmophoria. She writes that the painting was to accompany Blashfield’s tympanum in the Bank of Pittsburg. Of the other sources consulted on this specific work of art by Millet, King provides one of the more detailed description and analysis of Thesmophoria.

This book is about the life of American author, historian, and Union Pacific Railroad president, Charles Francis Adams Jr.. Kirkland takes the reader through various parts of Adams’ life, even quoting Adams’ diaries and memorabilia. It is mentioned that F.D. Millet was “one of his most intimate friends,” and Adams would often purchase art from him. Adams even had Millet paint Portrait of Mary Ogden Adams (Mrs. Charles Francis Jr.) and Portrait of Adams, as illustrated in the book.

PDF: Kenin, Richard, Return to Albion, 1979

This book provides a comprehensive exploration of the life and work of Louis Comfort Tiffany, a renowned American artist and designer known for his innovations in stained glass art. Koch delves into Tiffany’s background, artistic influences, and the development of his distinctive style. This book covers Tiffany’s contributions to various artistic mediums, including stained glass windows, lamps, and decorative objects, as well as his impact on the Arts and Crafts movement and American decorative arts more broadly. The primary focus of the biography is Louis Comfort Tiffany, the renowned artist, and designer. The Veterans’ room of the Seventh Regiment Armory is mentioned on page 15 explaining the glass that Mr. Tiffany used for the fireplace. Millet contributed to the Veteran’s room, though he is not mentioned directly on this page. On page 56, Frank Millet has a brief mention of working on stained-glass windows designed by Scribner, Tiffany, La Farge, Frances Lathrop, Edwin Blashfield, Elihu Vedder, Kenyon Cox, and Maitland Armstrong. Page 75 mentions Millet as being the director and coordinator of all painted decorations and Candance Wheeler had been appointed director of the Women’s building.

PDF: Koehler, S.R., The United States Art Directory, 1882-84

Koehler’s directory gives a thorough account of the artists, art teachers, institutions, and exhibitions which were important in the United States in 1837-1900. The author provides information on relevant exhibitions, monuments, and architecture. They also provide specific information regarding total sales dollars at exhibitions and auctions, including cost breakdown per artist and their work. Included is a list of art institutions by state in which they are located, and an artist directory specifying which exhibitions and societies specific artists participated in. This book did not include images of artworks by Millet, but did provide information about his address, shows that he participated in, and cost of a sold painting.

(Access: https://archive.org/details/unitedstatesartd02koeh/page/142/mode/2up?q=millet)

https://archive.org/details/gri_33125015065655/mode/2up

This source includes a engraving of Millet’s Lacing the Sandal.

This book is about Edwin Austin Abbey, his life, his works, and his accomplishments. A few of his friends and acquaintances are mentioned, such as Francis Millet. Lucas mentions millet in relation to the Arts Club in a quote from Alfred Parsons congratulating Abbey. Millet is mentioned once more as one of the jurors in Paris looking for works for the Americans abroad at the International Exhibition. No works were mentioned or listed.

(Access: https://archive.org/details/edwinaustinabbey02luca/page/290/mode/2up)

PDF: Lucas, E. V., Edwin Austin Abbey, 1921, 1 

PDF: Lucas, E. V., Edwin Austin Abbey, 1921, 2 

This book by Brander Matthews recounts his years as a professor of Dramatic Literature in Columbia University as a member of the American Academy of Arts and Letters. Matthews writes about how he became acquainted in 1882 with Lawrence Barrett and Millet either through Abbey or Hutton. The four of them created an informal club called, The Kinsmen, made up of practitioners of the allied arts, writers, painters, actors, who dined together from time to time in New York and London. While the club did grow it also was short lived and in 1887 the American branch stopped meeting altogether. Matthews says the creation of club solidified his friendship with Millet who he writes about in high praise. He lists his accomplishments in the Civil War and his success as a writer, painter, and administrator. He further praises his lovable nature, and experience as a world traveler. Matthew ends quoting a quip that Millet made about being elected an associate of the Royal Academy of Art in London and being a member of the National Academy of Design in New York. Matthew lists two short stories written by Millet, Yatil and the Fourth Waits, but no works of art by Millet are mentioned.

This book is a complete record of the 92 annual and 12 special exhibitions held by the Royal Canadian Academy of Arts from 1880-1979. Millet is listed on page 287 with his birthdate, birthplace, death date, and his address as of 1883 in New York. The work The Turkish Cafe is listed as being priced at $200.

PDF: McMann, Evelyn, Royal Canadian Academy, 1981

This source starts with the decorations in the Cleveland Trust Company building explaining the dimensions. It discusses what the piece is about (American History) and expresses his talent to vividly recall the pas, taking more than a year for him to complete the 13 panels. It mentions Millet’s positions/memberships in different organizations, his past time in the army, his graduation, and gives a quick life overview. It lists some medals/crosses that he received in war and mentions a book that he wrote called, The Danube from the Black Forest to the Sea. It mentions his position at the Chicago World’s Fair. It goes on to tell of Millet’s travels to Japan and more awards that he was given for his work. It lists where his work is shown. It highlights his government building work The Treaty of the Traverse des Sioux and The Entry of the Fourth Minnesota regiment into Vicksburg and goes over a couple more government building murals and the accuracy of each of his pieces. It mentions the seven medals that he executed for the US army and gives an overview of Millet’s personality and the energy stamina he has as an artist.

PDF: Mechlin, Leila, A Decorator of Public Buildings, 1910

This sale catalogue is potentially available through Gloucestershire Heritage Hub. It is only available to access in person.

This is a special report of F. D. Millett that gives his viewpoints on the fine arts of the present time and discusses the general state of the arts at the end of the 19th century. Millett’s report has a vital role due to its additional value to general acceptance of the artistic landscape in that period.

This article was written by Frank D. Millet. It is all about how the costumes of different nations have progressively changed from the earliest historic times to the time of the writing of this article. These changes, he notes, had not taken place all over the world. Nations such as China, Japan, India and others like it still wore cumbersome dress that seemed to have changed little from the past except in parts where European dress was adopted. The article is full of drawings. Some of them are signed by F.D. Millet, some are signed by other artists, and some are unsigned.

PDF: Millet, Francis Davis, Progressive Changes, 1887

This source is a report made by Frank Millet about the functions, responsibilities and work of the artists under his direction with the Columbian World’s Fair. He details many different people who worked on different projects and the money spent on different projects. Also included are black and white images of different artworks. Included is how much each artist was paid and for what days they worked, detailed information about inscriptions on paintings or monuments, as well as furniture and lighting in each building. One chapter includes a detailed list of events happening on each day and if there were any fireworks or special events (like Wisconsin day on Wednesday Sept 6). Included is a chart of the employees and organization of the department, with Millet listed as director.

This book is entirely about the Chicago World’s Fair, specifically its decorations. It is a great source to see Millet’s knowledge in the decorative arts, architecture and overall professional eye. Millet writes in full detail about the decoration and the process behind it all for the World’s Fair. There is not any mention of his own work, but the writing itself is a testament to Millet’s writing skills.

PDF: Millet, Francis Davis ed, Some Artists at the Fair, 1893

In this book, Charles Moore recounts Daniel H. Burnham’s life and work, including his leadership in creating the World’s Columbian Exposition. Afterwards, he continued to be a prominent architect, contributing heavily to public works. Through his public service and involvement in the World’s Columbian Exposition, Burnham became close friends with Francis Davis Millet. Moore explores their contributions to the Chicago World’s Fair, provides details of Millet’s remarkable character, and elaborates on their report for the Committee on Fine Arts and Architecture. Throughout the book are images that include F.D. Millet.

(Access: https://babel.hathitrust.org/cgi/pt?id=mdp.39015071561883&seq=11)

PDF: Moore, Charles, Daniel H. Burnham, 1921

This book is a collection of annotated letters from Kate Field’s life and gives an idea of her life in its different sections. None of the letters are addressed to Millet or his family members. In a letter from 1882 to Edmund Clarence Stedman Field mentions inviting the Millets to meet Oscar Wilde. That same year in a letter to Olivia Langdon Clemens, Field tells Mrs. Clemens that she (Field) heard through the Millets that Clemens had lost her allotment paper. The book mentions that Millet introduced Field to Charles Warren Stoddard. In an 1881 letter to Mrs. Clemens, Field mentions that Millet has painted a fine portrait of her that will be in the National Academy of Design. This is probably Portrait of Kate Field.

PDF: Moss, Carolyn, Kate Field, 1996

This book provides a description of the first dedicated public building in Cleveland and the plans to further develop the city. Artists, such as Millet, are noted as being some of the best designers for murals placed within the new public buildings. Under Millet’s name, a list of decorative panels in the office of the postmaster portraying the mailing routes are shown. All of Millet’s achievements and awards are listed giving a brief overview of his life. This highlights an important time in Millet’s life and has a list of the murals he designed for this project.

PDF: Murphy, W. J., A Brief Description of Mural Paintings, 1916

Frank D. Millet is described as making significant contributions as an organizer of the loan exhibitions showcased at the Academy’s rooms. Along with other renowned artists such as John La Farge, Augustus Saint-Gaudens, and Eastman Johnson, Millet played a conspicuous role in curating and assembling the diverse array of artworks and artifacts displayed during the prestigious event.

This is an exhibition catalog for the Fine Arts for the World’s Columbian Exposition in 1893. Millet is listed as a member of the Juries of Acceptance for the oil paintings category. Maynard’s Portrait of F.D. Millet is listed. Several works by other artists were done “after F.D. Millet”. Millet’s works listed include Antony Van Corlear the Trumpeter, Old Harmonies, Sweet Melodies, Rook and Pigeon, A Difficult Duet, At the Inn, Lacing the Sandal, The Window Seat, Study of Heads, A Prisoner, In the Supper Room, Camel Driver, Driving a Team, and How the Gossip Grew.

PDF: Murphy, W. J., A Brief Description of Mural Paintings, 1916

This catalog lists the fine art exhibited at the Pan-American Exposition in Buffalo in 1901. No illustrations are included. Works by Millet exhibited here included The Expansionist, The Card Players, Wandering Thoughts, Girl Reading, and The Fireside.

PDF: Pan-American Exposition, David Gray, 1901

This catalog lists the fine art exhibition entries from the British section of the Paris Universal Exhibition in 1878. Millet was a juror of this exhibition, but the jurors are not listed in this catalog. No works by Millet are listed in this catalog.

(Access: https://archive.org/details/parisuniversalex00pari)

PDF: Paris Universal Exhibition, Catalogue of the British Fine Art, 1878

Page 13 mentions Millet, saying he was a part of a class but had not yet arrived at the school/class yet. Page 17 mentions millet as one of the founders of the school and him being a wealthy and cultivated man. Mentions that it is because of William Morris Hunt that much of Millet’s greatest works are in Boston. Page 18 Millet was in Boston in 1876 and 1877 assisting La Farge in the decoration of the Trinity Church fresh from Antwerp. Page 19 mentions his death on titanic. Page 23 mentions Millet suggesting Otto Grundmann to instruct a class. Page 25 letters from Frank to Otto- letter talks about money and the job that Otto is accepting. Page 28 mentions millet working with pupils. Page 29 mentions how Millet was the only qualified to teach. Page 92 Millet resigned in 1885. Page 101 list of council members- Millet 1877-1885. Page 111 mentions Millet’s rather gloomy article in Harper’s on conditions in American Art Schools. Page115 mentions Millet’s lecture on Greek and Roman dress; he made a full line of costumes, accessories and footwear and dressed living models on stage where he told how they were made and put on.

PDF: Peirce, H. Winthrop, The History of the School of the Museum, 1930

This source discusses the advancement of decorative art and connects this movement to the growth and expansion of America. An introduction to the Tile Club is provided, detailing specific artists and their works while explaining the history leading to the creation of this club. Millet’s introduction to the club is briefly mentioned, and short trips artists took on behalf of the club are described. Exhibitions and papers organized by Millet are analyzed and it is made known that Millet was a part of this club as more of a businessman and less of an artist. Augustus Saint-Gaudens is illustrated in this book. This book goes into great depth about Millet’s life and shows how he blended art and business.

PDF: Pisano, Ronald, The Tile Club, 1999

This is the catalogue for the exhibition titled Lines of Thought: American Works on Paper from a Private Collection at the Florence Griswold Museum. It highlights “rarely seen” realist artworks assembled from two anonymous private collections. The authors mention some of the works within the exhibition, not including Millet’s, and provide a brief history of realist American painting and some of the techniques used. At the back of the book, a checklist of the works can be found. It is here that we can find the mention and illustration of Before the Bath by F.D. Millet.

PDF: Price, Charles, et al, Lines of Thought, 1996)

PDF: Price, Charles, et al, Lines of Thought, 1996, 2 

The book talks about the travels of American artists and their experiences within other countries. It specifically talks about the life and travels of Francis Davis Millet on page 114. Michael Quick provides detailed descriptions of Millet’s life, starting with his time as a drummer boy in the Civil War and ending with his death on the Titanic in 1912. The book mentions and illustrates these works specifically: At the Inn, 1884, The Union League Club, New York, Illustrated color plate 16, and A Cozy Corner, 1884.

PDF: Quick, Michael, American Expatriate Painters, 1976

Millet is mentioned on page 364 along with the painting Love Letter. This is a book about various genre scenes and artists during the 1800s, and this is the only time that Millet or the painting is mentioned in detail.

(Access: https://babel.hathitrust.org/cgi/pt?id=coo1.ark:/13960/t57d3g90f&seq=15)

PDF: Quilter, Harry, Preferences in Art, 1892

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Martha A.S. Shannon writes about the life of American painter, William Morris Hunt. He studied with Jean-François Millet, who is mentioned frequently throughout the book. F.D. Millet is only mentioned in chapter six where Shannon discusses the mural project for Trinity Church in Boston.

PDF: Quilter, Harry, Preferences in Art, 1892

The granddaughter of F. D. Millet compiled this biography of his life and work. Chapters include Childhood, The Student, Italy, War Correspondent, Marriage, Family Life in New England, Europe Again, Broadway, New Horizons, Civic Responsibilities and Rome. Several drawings and sketches by Millet are reproduced in this book as well as colored reproductions of Millet’s paintings The Yellow Silk Turban, Mark Twain, and Thesmophoria. There are also several direct quotes from letters and journal entries.

This is a brief history of the Tile Club and only mentions Millet on page 121 and 192 as a guest at a dinner that was being held. It mentions that his Tile name was the Bulgarian because of his travels.

(Access: https://archive.org/details/frick-31072002146555/page/n9/mode/2up)

PDF: Shelton, William Henry, The Salmagundi Club, Boston 1918

This source is a catalogue from an exhibition about late 19th century paintings and other artworks that had a significant role in the transformation of art in America. Many artists are mentioned with a few corresponding artworks.  There is a short biography of Francis Davis Millet and his art career which includes Harvard, Boston, Antwerp, Vienna Exposition, Philadelphia Centennial of 1876, Boston Daily Advertiser, Exposition Universelle, Broadway, World’s Columbian Exhibition, American Academy in Rome, mural decor, and costume design. Reading the Story of Oenone is shown and explained in detail, as well as A Tender Chord. Other works that are mentioned but not shown are: Lacing the Sandal, A Handmaid, A Reading from Homer, and A Window Seat.

PDF: Shepherd, Deborah Fenton, The Quest for Unity, 1983

PDF: Shepherd, Deborah Fenton, The Quest for Unity, 1983, 1 

PDF: Shepherd, Deborah Fenton, The Quest for Unity, 1983, 2 

PDF: Shepherd, Deborah Fenton, The Quest for Unity, 1983, 3 

PDF: Shepherd, Deborah Fenton, The Quest for Unity, 1983, 4

This book goes through various artists in the Manoogian collection with descriptions of their artwork. Francis Davis Millet’s The Window Seat is shown and described in detail. The location of where it was painted, who was painted, the reason behind the painting, and Millet’s value of the painting are discussed. At the end of this book is a comprehensive biography of Francis Davis Millet including his Civil war participation, education, various travels, career, and various impacts. His war correspondence is mentioned as well as his leadership and planning roles. His death on the Titanic is also mentioned. His historical genre scenes are noted as well as various paintings, among which are The Granddaughter, and Between Two Fires.

(PDF: Simpson, Marc, Manoogian Collection, 1989, 1) 

(PDF: Simpson, Marc, Manoogian Collection, 1989, 2) 

Frank D. Millet is mentioned throughout this journal, which offers a comprehensive history of the careers of both Edwin Austin Abbey and F.D. Millet. These two artists are utilized as examples illustrating the relationship between the arts in America and Europe. They highlight the interplay of American sensibilities within a distinctly European context, and vice versa. The text includes detailed descriptions of A Cosey Corner, The Window Seat, The Granddaughter, Between Two Fires, The Trumpeter, and How the Gossip Grew. Millet’s home in Broadway is illustrated through John Singer Sargent’s painting, Millet’s House and Garden. A black and white photograph of Lily Millet taken by an unknown artist, is included; Lily is sitting on a windowsill at The Fleece Inn in in Bretford, which was the setting for A Cosey Corner.

(Access: https://doi.org/10.2307/1594566)

PDF: Simpson, Marc, Windows on the Past, 1990

This book details the artists, artist clubs, patrons, and galleries of the late nineteenth and early twentieth centuries. Skalet takes in depth look at the art market as she introduces the clubs where artists met, such as The American Watercolor Society and The National Academy of Design. Names of collectors such as Thomas B. Clarke, William T. Evans, John Harsen Rhoades and more are mentioned and individual works that they collected appear. After chapter four, Skalet lists auctions and prices that the paintings mentioned were sold for. The appendices include locations and dates of exhibitions. Frank D. Millet appears briefly on pages 96, 213, and 230. The work by Frank D. Millet mentioned is At the Inn.

PDF: Skalet, Linda, The Market for American Painting, 1994

(Access: https://contentdm.lib.byu.edu/digital/collection/SCMisc/id/17285)

The author discusses different American artists who spent significant time in Italy and how they may have known each other or how going to Italy helped them become more well versed in the arts. Millet went to Italy with the architect Mead on American Academy business (maybe for inspiration for the Chicago World’s Fair?). Pages 200-201 provide a summary of his life and accomplishments. List of artworks mentioned include Mural at Baltimore Courthouse, Bay of Naples, Between Two Fires, Samuel L. Clemens Portrait, and Charles Francis Adams Portrait. Soria also mentions some of Millet’s writings.

PDF: Soria, Regina, Dictionary of 19th Century American Artists, 1982

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This exhibition catalogue was created for several exhibitions from 1992-1993. The catalogue includes essays by historians on the impact of the artistic scene of Italy on American artists. The rest of the catalogue is divided into chapters with specific themes or genres and the artists that fall under that category, giving a summary of the time they spent in Italy. In chapter seven, Renaissance Revival, Hirshler writes about painter Charles Caryl Colemans time in Capri. Hirshler quotes from an article that Millet wrote for the October 1898 Century Illustrated Monthly Magazine titled “Home of the Indolent:’ The Island of Capri” Hirshler uses this quote from Millets writing to comment on how the island of Capri was a place of traditional country life undisturbed by tourism. Hirshler goes on to explain how Colemans romanticized paintings of the classical past are similar to works by Colemans friends, Frank Millet and Elihu Vedder. There is no mention of works of art by Millet.

This report highlights the United States participation in the Paris Universal Exposition, listing every member who helped represent the U.S. in this event. Millet is listed as a member of the Jury representing the United States on page 60. On page 85 he is described as performing an excellent act of service for the United States, “all without any compensation or reward.” No works of Millet are mentioned in this report.

PDF: Story, William W., Report on the Fine Arts, 1880

Stott discusses how Dutch art, particularly that of the seventeenth century, influenced American artists and shaped cultural attitudes. Millet is mentioned on page 106 with his work Antony Van Corlaer, the Trumpeter 1889. Millet is mentioned on page 137 in reference to Harper Publishers initiated “Sketching Rambles in Holland” by sending Edwin Abbey, Swain Gifford, and Frank Millet to sketch Denmark, Norway, and Sweden.

This book contains illustrations of many works of art from the Centennial International Exhibition held in Philadelphia in 1876 with a discussion of the art. It features an illustration of In the Bay of Naples. This painting and Millet’s potential are discussed.

PDF: Strahan, Edward, The Masterpieces of the Centennial, 1977

This source includes discussion of Millet’s early life, his work as an artist, arts administrator, and his death on the Titanic, which is all mentioned on the first page. It then goes into detail on the Reading the Story of Oenone. The painting is reproduced on page 3.

PDF: Tappert, Tara, Francis Davis Millet, 1997

This is a catalog of works created by New England based artists. Millet is briefly mentioned in passing within information on other artists. No works or information about him are mentioned.

This source gives a short background on Millet’s history as an artist, war correspondent, and writer. There are multiple artworks of different styles and subjects mentioned. Trumble goes into detail regarding the subject of Millet’s artwork The Welcome Guest. Mentioned works of art include: Charles Francis Adams Jr., Mark Twain, Kate Field, Lawrence Barrett as Cassius, John McCullough as Virginius, The Story of Enone, and The Welcome Guest. Illustrated works of art include The Welcome Guest.

PDF: Trumble, Alfred, Representative Works of Contemporary American Artists, 1977

This book is a comprehensive study of the American Academy in Rome and its historical significance from its founding year of 1894 up to 1969. Millet is mentioned on page 1 for his involvement in the Chicago World’s Fair of 1893 as one of the painters of the fair. Millet is again mentioned on page 3 as a good friend of McKim and La Farge, his loyalty as a good friend as well as the founding of the American Academy being founded is noted. Millet is mentioned on pages 54-63. In a letter that he wrote to McKim in 1906 (page 54), he states that he has never felt so modern in his life as he did in Rome. Millet’s involvement as a board of trustees of the Academy is mentioned as well as him becoming secretary and then later treasurer. Millet’s various life achievements and studies are mentioned on page 186, although no artworks of Millet’s are mentioned specifically in this book.

PDF: Valentine, Lucia and Alan Valentine, The American Academy in Rome, 1973

This source is a book that discusses the depiction of women in nineteenth-century American art. Van Hook examines American attitudes and views on women during this time and how contemporary art reflects those attitudes. She writes about the decorative movement and artistic trends surrounding women and how portrayals of women in decorative art reflected societal views on women. Van Hook analyzes a few works by Millet and examines how they fit into art trends depicting women during the late 19h century. She mentions Reading the Story of Oenone, Autumn Idyll, and Thesmophoria.

This book is a collection of portrait/figure paintings from the 1800s. Millet is mentioned by name only in the Index at the front of book, and the painting, A Cosey Corner is mentioned in the index as well as pictured in the book, and there is a poem that possibly corresponds to the painting written by Thomas Hood. This is only one work and mention of Millet in this book.  There are no page numbers for this book.

PDF: Van Rensselaer, M. G., The Book of American Figure Painters, 1886

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This book begins by discussing the revival of American art that began after the 1876 Centennial Exposition in Philadelphia and led to the founding of new art institutions and societies for art education. It then discusses America’s participation in the 1900 Exposition Universelle and describes artists and their works from the United States and Great Britain. An engraving of Millet’s An Expansionist is included on page 48.

https://babel.hathitrust.org/cgi/pt?id=gri.ark:/13960/t2h77pb57&seq=1&q1=millet 

This book is comprised of a compilation of letters from war correspondents, including F.D. Millet, detailing events from the war between Russia and Turkey. It is stated that the correspondent’s letters will be distinguishable by symbols; however, no key is provided.

PDF: The War Correspondence of the Daily News, London, 1878

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This book focuses on William Morris Hunt, a prominent American artist of the nineteenth century. This source mentions Francis Millet on page 94. Millet praised Hunt’s teaching style, although he stated that even though the students understood the beauty of art they could not express themselves fully, likening them to people who comprehend a language but struggle to speak or write it. No artwork of Millet’s is mentioned in this book.

PDF: Webster, Sally, William Morris Hunt, 1991

Millet is mentioned as being a central figure in Edwin Austin Abbey’s career at Broadway with Parsons and John Singer Sargent. There is mention of Edward Burne-Jones also visiting F.D. Millet and other American painters at Broadway where he began to embrace impressionism. Millet is mentioned multiple times in indexes.

An exhibition exploring French and American genre paintings from 1850 to 1900 was the basis for the writing of this book. This ten-year period was a time when genre painting was no longer “avant-garde,” so the authors explore venues that were open to genre paintings and how these works were received by the public. They conclude that though these paintings weren’t the latest fashion of the day, they were still popular and well received. There are no works by Frank Millet in this exhibition.

In this book, Wheeler reminisces on her life as one of America’s first female interior and textile designers. Wheeler mentions that in the early days of working with Louis Tiffany, Millet joined them for a season and assisted Tiffany in his decorative experiments, providing practical knowledge. Later Wheeler was made the Director of the Women’s Building of the Columbian Exposition. She mentions asking Millet for help with various tasks and seeing his work displayed but doesn’t mention any specific works. Wheeler spends a summer in Broadway with the Millets and some other artists and gives a detailed description of the house and village.

PDF: Wheeler, Candace, Yesterday’s In a Busy Life, 1918

This book dives into the history of the Museum of Fine Arts in Boston and details the various collections within the museum. The second chapter of this book highlights the first decade in which the MFA was opened and the schooling system that was later developed. There is mention of Millet being a part of the committee which created the school and additionally teaching courses. There is a brief mention of Millet lecturing on Greek and Roman dress which explains his love of costumes.

PDF: Whitehill, Walter Muir, Museum of Fine Arts, 1970

This book is a collection of accounts focusing on the life of Kate Field. On page 344, there is an excerpt from a letter in which Millet wrote to Kate Field. It mentions how she sought his help in finding housing in England in 1899. It describes how he drew up an architectural plan for her and urged those constructing the house to be done in November. The book features a portrait of Kate Field on page 379 created by F.D. Millet. It also mentions the exhibition of Kate Field’s portrait in the New York Academy Exhibition of 1881. The text also mentions that Kate Field would hold luncheons or receptions for her friends to join, of which Francis Davis Millet was invited. The book describes Millet as ‘the clever artist.’

This book is a biography of Augustus Saint Gaudens, his works, his activities, and his friends.  Millet is mentioned as one of the artists chosen to help La Farge paint the Trinity Church in Boston. Millet’s involvement in the Tile Club is mentioned as well as his nickname, “The Bulgarian.” His involvement with the Chicago Worlds’ Fair in the creation of the inaugural medal, his involvement in the Columbus statue, his idea to cause all the flags to be furled and tied, and his duties as director of functions are all mentioned. No works are shown or mentioned.

PDF: Wilkinson, Burke, Uncommon Clay, 1985, 1 

PDF: Wilkinson, Burke, Uncommon Clay, 1985, 2 

PDF: Wilkinson, Burke, Uncommon Clay, 1985, 3 

PDF: Wilkinson, Burke, Uncommon Clay, 1985, 4 

PDF: Wilkinson, Burke, Uncommon Clay, 1985, 5 

(PDF: Wilkinson, Burke, Uncommon Clay, 1985, 6) 

In 1980, an exhibition was held at the National Gallery of Art in Washington that included art pieces from the private collection of Jo Ann & Julian. Scholarly information about the pieces in this collection were compiled to create this book. Frank D. Millet’s paintings After the Festival (1888) and The Poppy Field (1884) are a part of the Ganz collection and are illustrated in color and discussed in this book. As part of a discussion on how women were portrayed in classical garb in turn-of-the-century American art, Millet is highlighted for his passion for classical costume, his many lectures on the subject of classical costume, and the way he dressed his models in accurate classical dress. The back of this book includes a brief summary of Millet’s life as well as detailed information about the two paintings mentioned above, including provenance, dimensions, media and where they have been exhibited.

(Access: https://archive.org/details/americanperspect0000unse_t5r9/page/41/mode/1up)

PDF: Wilmerding, John, et al, An American Perspective, 1981

Francis Davis Millet is featured in volume one, page 410 of this series. A one-page summary is given of his life, talking about his service in the war, his education and background training, his work at the Philadelphia Centennial, his mural work and the part he played in forming the bohemian colony in England to name a few. His painting Girl with Silver Platter of Oranges is illustrated in color and referenced. At the bottom of the page is a chart showing how many paintings were sold and for how much. The painting Grandpa’s Visit is recorded as Millet’s record sale, selling for $50,000 in 1981.

PDF: 300 Years of American Art, 1987

Broun explores American art at the Chicago World’s Fair and provides lists of works exhibited, as well as select illustrations of these works. She also provides insight into the creation and development of the fair, listing Millet as one of its founders. While Jean-François Millet is explored extensively, mention of Francis Davis Millet is still found within the source – including a list of his works displayed at the exhibition. The works listed include Anthony Van Corlaer, The Trumpeter; Old Harmonies; Sweet Melodies; Rook and Pigeon; A Difficult Duet; At the Inn; Lacing the Sandal; and The Window Seat. Portrait of F.D. Millet by George W. Maynard was also exhibited at the Chicago World’s Fair. Broun cites two of Millet’s publications in her bibliography: Some Artists at the Fair and The Decoration of the Exhibition.

PDF: Broun, Elizabeth, American Paintings and Sculpture, 1976

This dissertation investigates Millet’s civic engagement and the intersections between art and society during Millet’s era. Millet’s paintings that are illustrated and included in this dissertation are as follows: Mail Delivery, India, Rural Delivery, Broadway, England, Balloon Post, Louis Comfort Tiffany & Associated Artists, Seventh Regiment Armory. Millet and George Yewell’s frieze on the north wall of the Veteran’s Room showcases their collaborative effort in creating public art installations, further highlighting Millet’s involvement in civic art projects. Other artworks by Millet mentioned in this dissertation are as follows: A Cosey Corner, Turkish Women at Sistova, Moldavian Peasants-A Windy Day in the Delta, Albanian Male Costume, View from the Gloriette, Dining at the Guingettes, Turkish Water Seller. Millet’s Mural Decorations: Murals in the Call Room, including depictions of various ships and vessels, demonstrate Millet’s artistic vision and engagement in large-scale mural projects, contributing to the embellishment of public spaces.

PDF: Butler, Eliza Adams, The Civic Art of Francis Davis Millet, 2017

D’Angelo’s dissertation examines the early life and works of Francis Davis Millet within the context of his travels abroad and his support of cosmopolitanism. She provides a lot of information on Millet’s travels and studies abroad and the work he participates in during his early years. The dissertation also discusses many of his early artworks. It is clear that D’Angelo conducted thorough research on Francis Davis Millet and consulted a large variety of sources available. It is an extremely reliable and useful source and serves as a great starting point for any research topic on Millet or any of his works.

From pages 321-323, Lois Marie Fink discusses Francis Davis Millet. Fink describes how Millet spent two years abroad; starting in October 1865, first in England and then in Paris, where he made sketching trips to Switzerland and was acquainted with Baltimore artists. In his correspondence, Millet discussed the art world in Paris, mentioning fellow artists such as Elihu Vedder, whose work he believed would be better received in England due to differences in artistic styles appreciated by American artists in Paris. Millet suggested that Vedder’s paintings were disliked by Americans there because they departed from the contemporary French styles of artists like Bonnat and Gérôme and instead focused on ideas over technique. Throughout his time abroad, Millet wrote letters to various individuals, including A. L. Mayer, Alfred Janson Bloor, and William Cullen Bryant, sharing his experiences and observations on the art scenes in Europe.

This dissertation discusses American artists living and studying in Belgium and the political relationship between Belgium and the US. Millet is mentioned on page 44 as being a student of Van Lerius and de Keyser in Antwerp at the Royal Academy. It is noted that he exhibited in Brussels at the Salon in 1875, but no works are named.

PDF: Neff, Nancy C., American Artists in Belgium, 1984

During portions of the years 1885 to 1889, three American painters lived in the Worcestershire village of Broadway—Edwin Austin Abbey, Francis D. Millet, and John Singer Sargent. This study focuses upon their work and the community they formed there with friends and colleagues, encompassing many of the leading figures in Anglo-American culture of the age. Topics discussed in the introduction include a brief consideration of the village itself; the Americans’ desire to appropriate English culture as their own; the complementary reasons urging them toward expatriation; and a series of biographical sections to introduce the principals of the community. There follows a chronological series of chapters that examine both the actions of the community and the art produced there. The thesis closes with a reflection on how the years at Broadway changed the artists and their work, and how their presence changed the village.

The author discusses women depicted in nineteenth century art. They argue that paintings such as these have been looked over and not received the recognition that they need. Several of Millet’s paintings are mentioned, including Autumn Idyll, Thesmophoria, Reading the story of Oenone.

This a dissertation discusses the life and work of John La Farge, who was a painter and friend of Millet’s. La Farge engaged a number of artists to assist him in the figural and ornamental work of the Trinity Church. The figure of David is attributed to Millet. This is the only mention of Millet in the dissertation, and it does not specify any other works or dealings with La Farge after these pages.

PDF: Weinberg, Helene Barbara, The Decorative Work of John La Farge, 1972

The author briefly discusses Millet’s career as an artist. They focus on Millet’s death onboard the Titanic and the years following his death, as many of his works were featured in exhibitions in his honor. The author pays special attention to Millet’s The Expansionist finished in 1899, which is currently at the High Museum of Art in Georgia. The author splits their research into three areas, Millet’s research for the piece, a formal analysis, and critic reviews of the piece.

This dissertation focuses on nineteenth-century artists, such as Francis Millet, who yearned for the past and incorporated that into their work, combing an idyllic past with fantasy. There is an emphasis on the purpose of American artists moving to England during this period and why the incorporation of England in their work was so valuable for the viewer. The three artists that are the focus of this article includes George Henry Boughton, Edwin Austin Abbey, and Francis Davis Millet. Millet’s style of painting and the subjects he used are clearly laid out as the author dives into many of Millet’s works. The works included in this article are The Love Letter, Between Two Fires, The Black Sheep, A Cosey Corner, An Autumn Idyll, and How the Gossip Grew.

PDF: Woods-Puckett, Grace Dingledine, The Lure of Albion, 2016

In this thesis, the author explores the art studios of nineteenth century artists and the relationship between them and their art. The author describes events that artists held in their studios such as teas and parties, as well as the work done in their studios. The author studies paintings of artists in their studios and paintings of their studios alone. While the dissertation discusses the artwork, writings, and lives of several hundred American artists and authors, the work of William Merritt Chase, Augustus Saint-Gaudens, Francis Davis Millet and Frederic Edwin Church receive particular emphasis. The author worked with H. Barbara Weinberg, who studied the life and career of Francis Davis Millet.

This article explains the spring exhibition done by The National Academy of Design and variety of works displayed. Millet’s Anthony Van Corlear, Trumpeter is highly praised within this article, and there is a brief detailing of the piece. There is not much information on Millet, but it does inform the reader of where this work was exhibited and what the public thought of it. An examination of the other works shown at the exhibit are also mentioned.

(Access: http://www.jstor.org/stable/25629095)

The article addresses Millet and his life up until 1884. It explores his friendships, marriage, children, and his interest in the arts. The painting Flemish Kitchen is featured in color.

PDF: American Art Review, pg 124, 1999

This brief article mentions where Millet’s works can be found as of the printing of the article, and it features a color reproduction of A Broadway Milkmaid.

PDF: American Art Review, pg 28, 2007

This article talks about various works that collectors owned and hung in their homes. Before the Bath is pictured on page 68 and mentioned on page 69. This is the only reference to Millet.

This article mentions two works by Millet: Peasant Woman Breaking Flax and The Potato Harvest. The article focuses on a man by the name of Mr. Walter’s and his art collection. The Art Committee of the Union League club, which gave monthly exhibitions during the winter, showed some of Millet’s work. Mr. Charles Morgan was a contributor to one exhibition and contributed The Spinner, The Churner, The Wool-Carder, and Gathering Beans. Mr. William T. Walters of Baltimore gave $500 to Millet so that he could add to the debated $500 for students to travel and study, and the money was to go to Mr. Earnest L. Major when he left for Europe.

This source is an overview and critique of the 4th annual exhibition going on in Philadelphia by the Philadelphia Society of Artists. F.D. Millet is mentioned as having painted a portrait of Lawrence Barrett in the character of Cassius. The author writes that while Millet’s drapery and accessories are well done, he “cannot paint the human face divine without making it call to mind one of those famous Herald war-maps.” No illustration is included.

PDF: Art in Philadelphia, Art Amateur, February 1883

This volume focuses on how influential American artists were in Paris, even more so than the native artists. Their work was sometimes shown more than the latter. Millet is mentioned as a good option for future architects to use for “further decorations” in relation to the murals in the Boston Public Library. His work The Love Letter is also mentioned and shown.

(Access: https://archive.org/details/sim_munseys-magazine_1895-07_13_4/page/332/mode/2up)

PDF: Artists and Their Work, Munsey’s Magazine, 1895

This source provides a brief review of illustrations supplied by American artists. The review notes that while there are a variety of interesting subjects and individuals depicted in the illustrations, their quality varies. It is mentioned that some artists have neglected to accurately portray the authentic portraits of their figures in set pieces, which is seen as a drawback. On page 820, the review praises F.D. Millet’s sketch of Michael Angelo and the Monk looking over the Vale of Clitumnus as excellent. Overall, the source acknowledges both strengths and weaknesses in the illustrations presented by American artists.

PDF: Athenaeum, December 1883

This article mentions that Millet’s How the Gossip Grew has humor like the painting Anthony Van Corlear. It states that it is modern English genre and reminds viewers of the better class of French genre.

PDF: Athenaeum, May 1890

Baltz discusses the popularity of allegorical mural painting in the late nineteenth and early twentieth century America.  The purpose of this article is to better understand the popularity of allegory in American pageants and mural painting in the late 19th century and early 20th century. In her analysis of allegorical mural painting, Baltz briefly mentions Francis Davis Millet and his Thesmophoria. She states that the portraits included in Thesmophoria are based on contemporary young women rather than on idealized classical facial types. She explains that Millet used his family members and friends as the models for the painting. Baltz claims that the inclusion of contemporary figures made it easier for people to connect with the art. The article also mentions Millet’s Queen of the Feast within the same context.

This article was written after Millet’s death and is a biography of his life written by Baxter. It provides details of Millet’s life, personality, relationships, and work. Baxter praises Millet’s work for the Columbian World’s Fair at Chicago and speaks of Millet’s impact specifically on decorative mural painting. Baxter claims that Millet’s fame will last mostly because of his great mural paintings. He discusses his murals for the Baltimore custom house but does not discuss other mural paintings.

Blashfield discusses Millet’s career as a mural painter in this article. He first discusses Millet’s important contributions to the Columbian Exposition as the Director of Decoration. Millet filled the role perfectly and was extremely successful. Mural painting skyrocketed in popularity, especially after the Columbian Exposition, and Millet himself became a mural painter. Blashfield talks about Millet’s appeal for and attitude towards decorative mural painting. The article mentions Millet’s mural work in the Baltimore Custom House and discusses his artistic style in mural painting. Blashfield knew Millet personally and provides reliable information on Millet’s work as a mural painter. This article is a useful source with information on Millet’s time as the director of decoration at the Columbian Exposition and Millet’s impact on mural painting.

Caffin discusses the history of American mural painting. He defines the mural as a decorative work that is an integral part of the architecture around it. He discusses for a time the important connection between mural painting, sculpture, and architecture, and the decorative purpose of mural painting. Throughout the article, Caffin examines several important artists, such as John La Farge and John S. Sargent, who aided the development of mural painting in America. Caffin also names the World’s Fair at Chicago as a major influence for mural decoration. He mentions Millet a couple times in this article, but only briefly. He includes Millet in his list of artists who have created decorative mural works. He also mentions Millet’s Traverse des Sioux as an example of a mural painting based on fact without a lot of embellishment or allegory, which raises the question of whether or not it counts as a mural decoration.

Caffin discusses Millet’s mural painting, Thesmophoria. The mural was commissioned for the Bank of Agriculture at Pittsburgh and was placed on one side of the main hall. Caffin explains that Millet’s painting embodies agriculture and has been exhibited at the American Art Galleries in New York. He provides an explanation of the subject matter and a brief formal analysis of the work. Caffin also identifies some of the figures in the painting as women that Millet knew.

Carroll discusses the interest in and revival of the American Colonial period in the late 1800s and early 1900s. She focuses specifically on the interest in colonial kitchens in literature and art, and she examines the use of colonial kitchens in art to represent certain American ideals such as family, community, and traditional gender roles. She explains that this colonial revival movement took off after the centennial in 1876, and many artists and writers began including colonial themes in their works. Carroll discusses many artworks and literature, including Francis Davis Millet’s A Cosey Corner. She mentions A Cosey Corner as an example of artworks that include scenes of colonial kitchens, especially ones that include a large hearth.  

This article covers American artists who exhibited at the Paris Universal Exhibition of 1889. It covers works from James McNeil Whistler, John S. Sargent, Walter Gay, etc. It specifically mentions Millet on page 516-517. It talks about how Millet was represented in the U.S. section by his works A Handmaiden from 1886 and A Difficult Duet also from 1886. It mentions how Millet has a favorable, distinguished position in England. It goes on to mention his work A Love Letter from 1901 and mentions how the work is favorable due to its English qualities of sentiment. The article even goes to far as to refer to Millet as a ‘Dutch Master.’ The writer finishes up by saying that Millet is the ‘cream’ of the exhibition. It displays an illustration of The Piping Times of Peace from 1887.

(Access: https://archive.org/details/harpersnew79various/page/516/mode/2up)

PDF: Child, Theodore, American Artists at the Paris Exhibition, 1889

The Art Amateur was a “monthly journal devoted to the cultivation of art in the household.” This journal explored art, artists, and exhibitions within their issues. In this article, Child recounts the many paintings exhibited at the Philadelphia Academy Exhibition. Among the works listed as part of this exhibition is F.D. Millet’s A Quiet Hour, which was “all but flawlessly drawn.”

https://babel.hathitrust.org/cgi/pt?id=uc1.e0000781625&seq=277&q1=Millet

PDF: Child, Theodore, The Philadelphia Academy Exhibition, The Art Amateur, April 1888

Coffin praises Millet as a well-rounded, knowledgeable, and experienced artist. He discusses his openness to other styles and his progressive attitude towards art. Coffin uses Millet’s easel painting as an example of his ability to adapt to modem progress and do new and different things in art. He uses a few specific works as examples, such as Between Two Fires, At the Inn, Rook and Pigeon, The Black Hat, and Wandering Thoughts. For each painting, Coffin provides a description and brief analysis. The purpose of the article is to give praise to Millet and the work he did as an artist. This article was written after the artist’s death.

This article discusses the Academy Exhibition and all of the artists shown. The critic is harsh from the beginning stating that the Exhibition itself was poorly put together, and it was exhausting to look at all of the works displayed. However, when it came to Millet, only positive comments were made about his painting on display. This is a good source to see that, despite being in a possibly difficult exhibition, Millet’s work still left a positive impression, showing that much of his work is beautifully done. His work of art mentioned in the exhibition is The Reading of the Story of Oenone.

PDF: Cook, Clarence, The Academy Exhibition, 1883

This source includes a summary of The Art Association Exhibition. It critiques exhibited artwork and the gallery space. Millet’s Proserpina Gathering Flowers was described as “perhaps the most striking.”

This source explains the details of an exhibition of the Water-Color Society. The source starts out by explaining the process behind setting up the decorations for the exhibition. The rest of the source is dedicated to discussing the artists and their artworks that were shown at the exhibition. F.D. Millet was one of many artists that were showcased at this exhibition and is briefly mentioned. Mentioned works of art include Study in Costume and a drawing with no mentioned title described as “a child with a Methuselah-head, frightened lest a wolf-skin floor-rug should eat up her rag-baby.”

PDF: Cook, Clarence, The Water-Color Society’s Exhibition, 1882

This source does not note anything about the actual lecture, but it mentions that Millet gave this lecture, and it is about his second lecture. It states that Millet had many tools and materials to make his togas and or toggery as authentic as possible. This article supports that he made his own costumesm, as there was no one else who could make them as authentic as he would.

The magazine highlights American painting movements, art of the Queen’s Accession, the Progress of Art in Birmingham, and many more topics. The article specifically highlights works in 1887 by different months. The article mentions the work The Interlude, on page 110, also known as The Difficult Duet from 1886. The book describes Millet as displaying his well-known neatness, skill, and precision in The Interlude, an interior scene showing a young lady seated at a piano or harpsichord, about to resume a duet. She is playing with a violinist, who is an old gentleman, wearing powder, and is elaborately consumed in the fashion of the close of the last century.

PDF: Cook, Clarence, The Water-Color Society’s Exhibition, 1882

This article discusses a collection of The Institute of Painters in Oil Colors and mentions F. D. Millet briefly. The work mentioned by Millet is Piping Times of Peace. The article criticizes this work as colorless but refined and skillfully painted. Other artists mentioned in this article are S. J. Solomon, W. L. Wylie, and E. J. Gregory. This is a short article that discusses many paintings and their attributes but only the one painting by Millet.

(Access: https://archive.org/details/magazineofart11londuoft/page/110/mode/2up)

PDF: Current Art, Magazine of Art, 1888

This magazine lists many different artists with short descriptions of their artwork and their prestige. F.D. Millet is briefly mentioned along with his painting Tender Chord. The background is described, and Millet is praised for finding his “period.”

(Access: https://archive.org/details/sim_magazine-of-art-1878_1889_12/page/124/mode/2up)

PDF: Current Art, Magazine of Art, 1889

The Magazine of Art was an illustrated monthly journal about the current visual arts with reviews on exhibitions and articles about artists and other areas of the visual arts. Here, they credit Millet for keeping his compositions interesting and broad in style. They reference and have an illustration of his painting Rook and Pigeon. They say it is the best work he has exhibited thus far because of its drama, detail, and simple narrative. They critique a certain blackness in the work but that the overall color is still pleasing. 

Curtis discusses Millet’s easel paintings, claiming that they have been forgotten in history. She also gives a biographical account of Millet’s life and early career as an artist. She writes about his studies at Harvard and at Antwerp, his early jobs as a writer, his travels, and his genre painting. Curtis spends most of her article on the events of Millet’s life but mentions the easel paintings he had created at different points of his life. The paintings she mentions are The Expansionist, Turkish Water Seller, Sailing in the Bay of Naples, A Bashi-Bazouk, and Baby Worship. Some works are mentioned briefly, but others, like The Expansionist, are discussed more in detail.

This article talks about the group of women who played a key role in founding the Detroit Institute of Arts. Going to New York and Boston at their own expense, these women sold hundreds of paintings for artists and dealers, taking 10 percent. With the money they earned, they were able to purchase the first painting in Detroit’s permanent art collection, Francis Davis Millet’s Reading the Story of Oenone. A black and white copy of this painting is included in the article.

PDF: Detroit Took Up Art, Art Digest, October 1933

This article discusses the literary works from several authors. For each author discussed in the article, a synopsis of the work is provided with background information about the author. Millet is briefly called out as one of the illustrators for the publication of Henry Wadsworth Longfellow’s poem, “Michael Angelo”. It does not directly specify which of the illustrations Millet had created but includes him in a list of other artists who also helped to illustrate the publication.

(Access: https://harpers.org/archive/1884/02/editors-literary-record-338/)

PDF: Editor’s Literary Record, Harpers Magazine 68, no 405

This source discusses news related to different people associated with American art. One section talks about a Mr. Walter Satterlee who was organizing a costume depot. This depot would be like a circulating library that rented costumes. The end of the section on the costume depot briefly states that it would be very important to get the attention and approval of Millet because of his reputation and knowledge of costumes.

PDF: Ego Notes, Art Interchange, March 1883

This article is a review of the Exhibition of the Academy of Design and includes a list of some of the works exhibited and a very short review of each. The author, who is unknown, lists some descriptive information of the works, but it is mostly a review based on the author’s opinions. Millet had two works exhibited at the Academy of Design. These works were his portrait of Miss Kate Field and Baby Worship. The author describes Baby Worship as a sincere genre and claims it to be better than his portrait. The information on both works is short and not very descriptive, but the article does provide some contemporary opinions and critiques on the two paintings by Millet.

The autumn exhibition of the Royal Institute of Painters in Oil Colours, which consists of 629 pictures, is featured in this article. Of these works, A Tender Chord by “Mr. Millet” is mentioned as being “charming in tone and feeling.” No illustrations are included, and no other works by Millet are mentioned.

PDF: Exhibitions, Art Journal, 1888

This article focuses on the National Academy of Design fall exhibition of 1885. The author is overall unimpressed with the works at the exhibition. Millet’s The Potter’s Daughter is his only piece mentioned.

PDF: The Fall Academy Exhibition, Art Amateur, January 1886

The critic for this exhibition states that this collection was not one to see new or innovative works of art by American artists. Instead, they state that most of the art is what viewers have seen time and time again. They do not state that it isn’t worthwhile, just nothing new or exciting. A very brief mention of Millet is made discussing some quaint English interiors. It does not specifically mention which paintings, but they are described to possibly be Portrait of Mrs. Millet, A Tender Chord, or A Girl Playing a Mandolin, as the article mentions a young woman playing a mandolin. The other could be A Cosey Corner, as it is described to have a young woman reading.

PDF: Fall Exhibition, Art Amateur, January 1888

This source mentions Millet’s painting of A Love Letter. The article describes and commends the piece.

PDF: Fine Arts, Athenaeum, May 1888

This source gives details regarding the 121st exhibition of the Royal Academy. The exhibition was the largest to date with about 2,200 contributions. This source explains the author’s opinion on some of these works and goes into depth about specific works and artists. At the exhibition, Millet’s Anthony Van Corlear, the Trumpeter was shown and was predicted to make a strong impression. This source was published just before the exhibition opened to the public, so it is unclear how it was received. No illustration of Millet’s work is included.

PDF: Fine Arts, Athenaeum, May 1889

This article describes war correspondence efforts among many different people, including Frank D. Millet. Forbes talks about how war correspondence used to be an art because of these efforts.  The author writes about Millet in relation to Millet’s work for The Herald, and then about Millet’s work with Forbes with the Daily News in Bucharest. Millet’s travels to Dobrudscha and the Balkans are mentioned, and Forbes is keen to describe Millet’s amazing organization of the transmission of his letters. One photograph of Millet with Macgahan in relation to the Russo-Turkish war is also shown.

(Access: https://archive.org/details/warcorrespondenc00forbuoft/warcorrespondenc00forbuoft/page/n19/mode/2up)

PDF: Forbes, Archibald, War Correspondence, December 1892

PDF: Forbes, Archibald, War Correspondence, December 1892, pg 2 

PDF: Forbes, Archibald, War Correspondence, December 1892, pg 3

In this section of Munsey’s Magazine, war correspondents are discussed. Various correspondents are mentioned along with stories of how they came to be and their impact on various battles and wars. Frank D. Millet is mentioned in relation to the war with Turkey and many other battles. He is described as someone who was a journalistic hero because of his work in Danube, San Stefano, and especially in Plevna. No works are mentioned, but a portrait of Frank is shown.

(Access: https://archive.org/details/sim_munseys-magazine_1895-04_13_1/page/38/mode/2up)

PDF: Gribayedoff, Valerian, The Modern War Correspondent, August 1895

Millet is one of the “interesting personalities” spotlighted in the magazines “About People” section. He is given praise as a distinguished American painter whose life ended in a heroic death on the Titanic and who was the director of the American Academy at Rome at the time of his death. He is remembered not only as an artist but also as a lovable person who always used his many skills to serve others. The article gives details of his early life and family background and highlights his service in the Civil War and in the Russo-Turkish War of 1877. While attending Harvard, he worked as a photographer and in newspaper work, providing sketches and writing articles, which helped pay for his younger sibling’s education. He studied painting in Paris and Antwerp. The article mentions his marriage to Elizabeth Greely Merrill and their home in the village of Broadway in England.  In addition to being an artist, he was also an author of several books. The article goes on to commend him for his mural paintings on the “White City” of the Columbian Exposition at Chicago, explaining that he focused more on mural paintings in the later part of his career. His admiration for the Dutch masters and old-fashioned interiors is evident in his work, such as in Wandering Thoughts, The Cozy Corner, Between Two Fires, and Better! which is illustrated in this issue.

Harris William briefly writes on the importance of mural painting and the impact it made on American artists. A list is shown of important mural paintings done in American at the time, and it is organized by city. Millet’s name and works are mentioned a few times, including The Triumph of Juno, Spinning, The History of Shipping for the Earliest Recorded Use of Boats Until the Present Time, the decorative details at Trinity Church, The Early History of the  Settlement of Ohio, Events in the History of Jersey City, decoration in the Supreme Court, The  Revolt of the Grand Jury, decoration in the New Bedford public library, Thesmophoria, Fourth Minnesota Regiment Entering Vicksburg, The Treaty of the Traverse des Sioux, Weaving, three panels for the Wheeling West Virginia court room in the federal building, a lunette in the Mahoninh County courthouse, and aiding in the color scheme of the Cleveland federal building and the Hudson County courthouse. This book also shares the committees Millet was a part of and his role as not only an artist but a businessman. Additional information about other important artists Millet was involved with, such as Edwin Abbey, is included.

James Hunt writes about his friendship with Millet spanning twenty years until his death on the Titanic. His Chronicle of Friendship was published in two parts. The first part talks about how Hunt initially met Millet while working as mural painter for the set-up of the 1893 Chicago World Fair. Hunt shares multiple anecdotes about working with Millet during the World Fair, highlighting his character, management abilities, and the many other talents of Millet that he admired. This article mentions and has photographs of the murals painted for the Manufacturers’ Building and the decoration for the ceiling of the New York State building.

The second part of James Hunt’s chronicle of his friendship with Millet talks about their correspondence and visits with each other after the Chicago World Fair. Hunt gives details of a trip he made to specifically visit all of Millet’s murals. The works of Millet mentioned in this article are the American Pavilion at the Paris Exposition of 1900, the Baltimore Customs House mural (with a photograph of Millet working on it), an illustration of The Treaty of the Traverse de Sioux a mural in the Minnesota State Capitol, the thirteen panels portraying the development of civilization in America in the Cleveland Trust Company’s Saving Bank, the frieze of thirty-five panels representing different methods of transporting mail throughout the world in the postmasters room at the Federal Building with an illustration of one of the panels, the ceiling decoration for the New York State Building at the World’s Fair which was then taken to the Capitol at Albany after the Fair, the Trinity Church mural in Boston, an illustration of  The Foreman of the Grand Jury Rebuking the Chief Justice of New Jersey which is a mural in the Grand Jury room of the Essex County Court House in Newark, New Jersey, two murals for the Hudson County, New Jersey, Court House at Jersey City, a portrait of Major Butt, the Thesmophoria painting in the Bank of Pittsburgh, and an original sketch of a battle in the Balkans in the Russo-Turkish War that he gifted to Hunt.

This article provides a description of the rooms in the Seventh Regiment Armory in New York, including the Veterans Room where Francis Davis Millet and George Henry Yewell researched and painted the decorative frieze. Images of the rooms and some details of the Celtic or Saxon style used by Millet and George Yewell are included.

PDF: Hunting, Mary Anne, The Seventh Regiment Armory, January 1999

This article is about a few actors in what is called the “Group of Players.” It goes through each of their lives and discusses what type of people they were on the stage and off. The actors mentioned are Edwin Booth, Lawrence Barrett, Lester Wallack, Henry J. Montague, William J. Florence, and John McCullough. F.D. Millet is mentioned in relation to McCullough when he visited Millet’s New York studio to discuss a costume for Virginius. Millet is said to have had a collie-dog. No artworks are shown nor mentioned.

PDF: Hutton, Laurence, A Group of Players, January 1898

PDF: Hutton, Laurence, A Group of Players, January 1898 2 

This magazine compares F.D. Millet to Edwin Austin Abbey and George Henry Boughton. It suggests that Millet is their equal with genuine scenes of picturesque old English life. Formal elements Millet’s works A Cosey Corner and No Unwelcome Guest are analyzed in detail.

(Access: https://archive.org/details/magazineofart08londuoft/page/n159/mode/2up)

This article references an exhibit at “The Institute” (Boston’s Lowell Institute). It includes an illustration of Millet’s The Granddaughter. Millet’s The Granddaughter and The Amanuensis are mentioned as being displayed at this exhibition.

PDF: The Institute, The Magazine of Art, 1886

This fine arts magazine, published in New York, was based on the British Art Journal and often contained similar content. The unknown author of this article expresses their frustration concerning the mediocrity and lack of novelty of English art, especially when it comes to genre paintings. The author lists works shown in this exhibition of The Institute of Painters in Oil Colors, and briefly comments on the works. F.D. Millet’s Window Seat is found within this list and cited as “one of the most original works in the exhibition.” 

(Access: https://babel.hathitrust.org/cgi/pt?id=mdp.39015010960949&seq=142&q1=Millet) 

PDF: The Institute of Painters in Oil Colours, The Art Journal 10, 1884

This source lists F.D. Millet twice with his literature work, Yatil. It was presented in the 1883 March and May editions of The Century Illustrated Monthly Magazine. Millet is mentioned on pages 235 and 431. No further information is included on Millet’s text.

(Access: https://hdl.handle.net/2027/uc1.l0074073693)

This article critiques various paintings from the exhibition of The Institute of Painters in Oil Colours. The author is not listed, but they recommend Millet’s painting without further critique. Millet’s A Cosey Corner is listed.

PDF: The Institute of Painters in Oil Colors, Athenaeum, December 1884

This essay speaks about the artists within Broadway, including Abbey, Alfred Parsons, and Frank D. Millet. It talks about how Millet was able to bottle the sweetness of this village and distribute it like treasure. It then goes in depth describing the village of Broadway and truly sells the reader on the magic of this place. An entire section is dedicated to Millet and his writing and artistic efforts. He is described as ‘painting pictures without words and words without pictures.’ It also touches upon the Greek plays at Harvard of which he coordinated and costumed. The author also states how it is Millet’s American quality which allows him to produce such fine works. The essay includes sketches of Millet, as well as his contemporaries. Millet’s portrait is featured on page 53, sketched by George Du Maurier, and a sketch of him and Abbey’s studio The Priory is shown on page 57. The essay does not feature any of Millet’s paintings.

(Access: https://archive.org/details/harpersnewmonthl79harp/page/49/mode/2up)

PDF: James, Henry, Our Artists in Europe, June 1889

This article critiques various paintings exhibited at the National Academy Exhibition. Millet is praised for his interesting and always intelligent work. His Regina Convivii is listed as his principal contribution.

The American Art Chronical was a journal kept by American Artists. This article talks about Millet’s work being featured in the Decorative Art Society, namely with some other artists in an oriental collection. No artworks are mentioned. It also mentions Millet being selected to work on a committee with a new art gallery that was built. It mentions FD Millet as one of the artists who exhibited “first-class works.”

PDF: Koehler, S.R., American Art Chronicle, May 1881

This book provides an overview of American mural painting and examines the most important works of decorative mural paintings. King looks at many mural painters throughout the book, including Francis Davis Millet and Thesmophoria. She writes that the painting was to accompany Blashfield’s tympanum in the Bank of Pittsburg. Of the other sources consulted on this specific work of art by Millet, King provides one of the more detailed description and analysis of Thesmophoria.

This is a catalog of the principal paintings in the fifty-sixth annual exhibition of the National Academy of Design. It includes two paintings by Millet which were exhibited at this exhibition. The first is a portrait of Kate Field and the other is Baby Worship. A description is included with each work. For Baby Worship, a short description is written along with a a short sentence praising the image as excellent. A drawing of the image is included.

Charles M. Kurtz provides an overview and some illustrations from the National Academy of Design exhibition from 1883. Millet’s work is not illustrated in the journal, but his painting Reading the Story of Oenone is listed as being in the northwest gallery. Kurtz briefly describes the subject of the work, as well as provides its exact position on the gallery wall.

(Access: https://www.jstor.org/stable/25608011)

PDF: Kurtz, Charles M., South Gallery, 1881

This source is all about the Boston Art Club Exhibition; the critic writing the article goes over most if not all the artists shown at the exhibition. The critic mentions that there are three Millet paintings, two of which are genre scenes but in the article the critic seems unimpressed. The critic mentions The Neapolitan Fisher Boy by Millet; he says that it is cramped and the use of stark red against white was unrealistic. Philosophy in Summer was also displayed, and the critic seemed to enjoy that one a bit better but mentioned that the attempt of painting the summer light was not quite what it needed to be. Overall, this source is good to see what contemporary critics may have thought of Millet alongside his artistic peers. Paintings mentioned in article; The Neapolitan Fisher Boy (On the Bay of Naples?), Philosophy in Summer, and Morning in Venice.

Access: https://doi.org/10.2307/20559703

PDF: Lathrop, G. P., Boston Art Club, Twenty-Second Exhibition, 1880

This article was an announcement about an exhibition of American art that was going to be displayed in Munich at the International Art Exhibition from July 1 to October 15 in 1883. Lent also goes into some detail of how the purchases of art will be made and that some medals will be given out. Frank Millet is one of the artists who was on display for this exhibition. His name is mentioned but the artwork that was shown is not. This article is a good reference to show Millet’s exposure in the art world and that he was shown in many different places.

PDF: Lent, Frank T., The Munich Exhibition, April 1883

PDF: Lent, Frank T., The Tariff Question, April 1883

This source expresses the remarkable life and impression Millet left on others. It expresses the skillfulness Millet had at learning a language and how he adapted in every country he visited, taking inspiration and interest in things he saw in those countries. It also tells of his unique nature to learn things and how well versed he was in architecture, furniture and costume. The article mentions his accomplishments in war and states that he never forgets anything once seen or heard, having a wonderful memory for names and faces as well. “Those who knew him could be sure that if he undertook to do a thing it would be done, and well done. Conscientious to the ultimate degree; always interesting, both in youth and manhood; a loyal friend and a joyous companion.”

(Access: https://www.jstor.org/stable/pdf/20560702)

PDF: Maynard, George W., Francis Davis Millet A Reminiscence, July 1912

This article discusses Frank D. Millet’s paintings for the Baltimore Custom house, which mostly comprise of ships. She gives a brief description of the Baltimore Custom House. The author dives into each of the paintings and reviews or gives a formal analysis of them. She states that when Millet painted the ships that were meant to go on the ceiling people were amazed, but after finding out they were meant to be placed on the ceiling, some concerns were addressed. She discusses the reaction to his paintings as well as the technique and styles he used. The paintings by Millet mentioned and illustrated are Chinese Junk, Liverpool Packet, The Ship, The Call Room Mural, and Lunette and Spandrels.

PDF: Mechlin, Leila, Mr. F.D. Millet’s Decoration, August 1908

This article is a review by Frank D. Millet on the American Academy in Rome. Frank summarizes how the academy was created. It is also a criticism of how the students are being taught. Frank offers suggestions such as allowing the students to work unsupervised. Frank mentions that the Academy in America does well because it follows the Academy in France.

PDF: Millet, Francis Davis, The American Academy in Rome, 1905

This source written by Millet discusses the costumes he created for a Greek play that took place at Harvard. Millet explains the importance of having accurate costumes in plays that have had to be adapted to modern times. The specific names of the Greek clothing are used. When discussing the costumes he created, Millet makes mention of the materials and colors that were used. There are many illustrations in the article, possibly done by Millet. Illustrated works of art include Illustrations of the Greek play at Harvard, possibly by Millet

(Access: https://babel.hathitrust.org/cgi/pt?id=uc1.b2922252&seq=82)

PDF: Millet, Francis Davis, Costumes in the Greek Play, November 1881

This article talks about the buildings of the World’s Columbian Exposition, the architects who designed them, as well as the artworks which are displayed inside them. Throughout the article, Millet shows great admiration for these architects and states the inspirations for each of their buildings. He once again talks about D. H. Burnham who was the Director of Works of the Exposition. He talks about the architects who Burnham selected to design the buildings at the Exposition, including C. B. Atwood, Richard M. Hunt, etc. No works by Millet are illustrated or mentioned.

PDF: Millet, Francis Daivs, The Decoration of the Exposition, December 1892

This article starts by mentioning an account of a soldier whom Millet spoke to directly. The soldier states that he and his troop once charged at their enemy all together, at the same time, without any higher command or bugle sounding. Millet uses this phenomenon of acting together as an example to describe the ‘peaceful enterprise now active in Chicago.’ This is referencing the Exposition of 1893 which was to be held in Chicago the next year. He says that the exposition will not only be an example of what Chicago is capable of but will also be an example of what a group of people can do if they all take action at the same time. The article features illustrations and photographs of various architects who designed buildings at the Exposition. These include D. H. Burnham, Richard M. Hunt, Sophia G. Hayden, etc. He ends the article by stating that the impact of these people working towards a common goal will be ‘incalculable’ and that it points towards ‘the dawn of real art within this country (The United States).’ No works by Millet are illustrated or mentioned.

PDF: Millet, Francis Davis, The Designers of the Fair, Harper’s, November 1892

F.D. Millet wrote this article about Dr. Rimmer’s works and collection that was on display at the unspecified museum at the time of this writing. Millet writes that the collection of masters Rimmer had is not very large, but the quality outweighs the quantity. There are works by masters such as Rubens, Van der Velde, Albert Cuyp, Gerard Dou, Greuze, Jean-François Millet, as well as American artists such as Sir Joshua Reynolds, Sir Thomas Lawrence and Benjamin West. This article does not include any of F.D. Millet’s works in the collection and there are no illustrations.

PDF: Millet, Francis Davis, The Paintings, The Rimmer Collection, October 1880

This article was written by Frank D. Millet about one of his war correspondent experiences in Turkey. It is a first-person account of his struggles and happenings. He describes the Balkan range and the events that various leaders and armies took in that fight. Only a sketch titled We are saved! We are saved! is shown.

(Access: https://archive.org/details/sim_youths-companion_1896-11-26_70_48/page/632/mode/2up)

PDF: Millet, Francis Davis, A Tragedy above the Clouds, November 1896, 1 

PDF: Millet, Francis Davis, A Tragedy above the Clouds, November 1896, 2 

This essay features Millet’s theories regarding the formation of art within America. He touches upon expatriate artists who have gone to study in Europe and compares American and European art education. He also criticizes the notion that Americans should paint exclusively American subjects. He believes that in order to gain a proper education, America must send their brightest pupils to analyze art and cultures in other parts of the world. He ends the essay hopeful that American artists will be able to greatly impact the future of the art world. No works by Millet are illustrated or mentioned.

This article was written by Frank Millet for a magazine. The story is about him being in Paris and meeting a circus performer. No artworks mentioned or illustrated.

(Access: https://babel.hathitrust.org/cgi/pt?id=mdp.39015030319530&seq=759)

PDF: Millet, Francis Davis, Yatil, March 1883

This article briefly mentions the popularity of smaller exhibitions and the typical works seen within these exhibits. There is mention of American Art Galleries and the importance of showcasing lesser-known American Artists works. Lacing the Sandal, Old Harmonies, A North- East Storm, and Rook and Pigeon were seen at the American Art Galleries exhibition and there is word that the galleries were hoping to add Van Corlear, the Trumpeter. Brief summaries of the works are also detailed below the works.

(Access: http://www.jstor.org/stable/25629095)

PDF: Minor Exhibitions, The Art Amateur, 1890

The article talks about new works featured in lesser exhibitions. It talks about F. D. Millet’s Pigeon and the Hawk and describes the work as a tavern scene, where a ‘gambler plays with his young victim.’ It then talks about Millet’s close study of costumes, and how this is a typical American subject.

PDF: Minor Exhibitions, Art Amateur, 1894

This article provides a short history of groups of Minnesota soldiers that fought in the Civil War and mentions some paintings that were completed and placed in the Minnesota Capitol Building to commemorate the war. One of these paintings is by Millet. The author states that Millet’s work understates the message of the battle he depicted. Work of art discussed and reproduced: Fourth Minnesota Regiment Entering Vicksburg.

PDF: Moen, Margaret, Six Paintings, November 1994

This article examines art from the “Chicago Exposition”. Millet’s work Anthony Van Corlear is named. It is noted that this work was displayed in the English School despite Millet being an American artist.

PDF: Monroe, H., Paintings in Chicago, October 1889

This article provides a critique of the National Academy Exhibition that took place at the time. The author provides a short commentary on a number of the artists and the works that they were presenting. Much of this commentary was not as descriptive as it was critical. One work of Millet’s was mentioned, Koran Reader, although very little description or information is provided about the piece. This article would be helpful to get a list of some of the artworks that were presented in this exhibition. 

PDF: The National Academy Exhibition, The Art Amateur, 1882

The Art Interchange was a journal “devoted to the promotion of polite arts in America.” This included sketches, notes, art news, short essays, and answers to questions. The “Notes and News” section of this issue lists a small number of American works that would be displayed at the Munich International Exhibition. F.D. Millet was cited to have two works exhibited at Munich: Lawrence Barrett as Cassius and A Bashi-Bazouk.

(Access: https://babel.hathitrust.org/cgi/pt?id=umn.31951000744715f&seq=289&q1=Millet)

PDF: Notes and News, The Art Interchange, May 1883

The text highlights significant additions to the Metropolitan Museum of Art’s collection, including works by F.D. Millet. Millet’s painting Inn Interior is noted as an admirable contribution. Millet is also listed as being artist 234 in the Art Armature with his painting The Spinner being showcased and priced at $17,000 and sold for $14,000. His painting was a part of Mr. George I. Seney’s collection.

(Access: https://www.jstor.org/stable/25628577)

PDF: Montezuma, My Notebook, June 1887

This article focuses on art from the Royal Academy Exhibition in London. Millet’s Anthony Van Corlear, the Trumpeter is mentioned and notes that it was recently exhibited at the Union League Club. The article offers a description of the painting.

(Access: https://www.jstor.org/stable/25628985)

PDF: Montezuma, My Notebook, July 1889

This is an article that mentions painting styles by various artists, and Millet is just briefly mentioned.

(Access: https://onlinebooks.library.upenn.edu/webbin/serial?id=artamateur)

PDF: Montezuma, My Notebook, July 1890

The article is about the New York Art Club Exhibition in Madison Square. The author states how only well-known artists participate in the show and that there is no room for a bad display. In the case of this exhibition, the writer and critic stated that it turned out just ok and that there was no special interest in the show. The writer said that Millet’s paintings were worth taking note of compared to everyone else; they mentioned a study of the sea and shore painted by Millet. The writer described Franks techniques in the painting, or study, and noted his promising future as an artist. This article is a good source to see how critics viewed Millet even early in his career; he clearly had a large amount of talent and recognition. No specific mention of artworks by Millet, only the study of the sea and shore.

PDF: Montezuma, The New York Art Club Exhibition, April 1883

Thomas Bailey Aldrich’s new book of poems is discussed in this article. In addition to critiquing the poems themselves, the author mentions that the members of the Paint and Clay Club in Boston illustrated some of the poems. F.D. Millet is credited with illustrating the poem “Dressing the Bride.” The critique says that it is exquisite in its drawing and though there are suggestions of oriental color in the accessories, the bride herself looks nothing like an oriental woman.

PDF: New Publications, Art Amateur, December 1882

This source tells of a meeting that took place between members of the American Artists’ Club at Munich. The meeting was called to discuss the representation of American artists at an upcoming International Art Exhibition in Munich. At the meeting, a Committee on Organization was elected with Millet being one of the elected members. This new committee was tasked with asking American artists to suggest names of people to join a jury of acceptance that would determine the final artworks shown in the exhibition.

This article critiques some entries to the Fifty-fifth Annual Exhibition of the Pennsylvania Academy of the Fine Arts. Millet’s artwork is not mentioned, but the author quotes Millet’s sentiment in a recent Harper’s Magazine article that novices who have not mastered the elementary principles of drawing should be positively discouraged from exhibiting their works. The author further mentions that Millet’s portrait done by Maynard is on display at the exhibition.

PDF: Pennsylvania Academy Exhibition, Art Amateur, 1884

This article discusses the Second Prize Fund Exhibition that opened on May 7, 1886. Millet’s At the Inn is his only painting mentioned. Millet’s painting was reviewed as “very well painted . . . but spiritless.”

PDF: The Prize Fund Exhibition, Art Amateur, July 1886

This article explains the Prize Fund Exhibition in which two landscape artists won monetary awards. The author analyzes various other works that were included in the exhibition and focuses on the figure-paintings that were shown. There is deep analysis of many works; however, Millet is not mentioned with such depth. This article mentions Millet’s works titled A Difficult Duet and Old Harmonies, but there is no further information on these two pieces.

In this article, the author analyzes the Royal Academy exhibition at Gallery IV. Each artwork that was shown is mentioned with a short, one-to-two sentences of commentary about each. Millet’s work is not mentioned in this article. However, Millet himself is mentioned to compare Fildes’s female portraiture in his painting Sisters to the “satisfying” appearance of Millet’s female portraiture. Millet’s artwork is not mentioned in this article, and no informative information is provided about Millet.

PDF: The Royal Academy Gallery IV, The Art Journal

F.D. Millet is not mentioned by name in this periodical. However, it does outline in detail the experience of British art students at the Antwerp Academy in the later part of the eighteenth century, coinciding with the time F.D. Millet would have been a student at the Academy.

This article presents a critique of different artists. Lolla by Millet is mentioned. It is unclear if the work is under a different name as there is no description of the work mentioned only the name, and this is an article talking about six different American Artists, critiquing their works.

(Access: https://babel.hathitrust.org/cgi/pt?id=umn.31951000744715f&seq=98)

PDF: Sixth American Artists, Art Interchange, March 1883

This article talks about Frank Millet’s genre scenes and domestic scenes. The author goes into detail into Millet’s precision, compares his works to other artists, and discusses many of his paintings in this article. The author attempts to think how Millet thought while analyzing his works. Skinner says, “Mr. Millet’s canvases, then, have incipient or completed action- rarely the suspended motion that tires us by its arrest or vehemence.” Such depictions are made of other works of Millets in this article. The works by Millet mentioned are How the Gossip Grew, Off Duty, The Black Sheep, The Love Letter, Fireside Companions, Rook and Pigeon, Lucky at Cards, Unlucky in Love, Between Two Fires, and Old Melodies. The works illustrated are How the Gossip Grew, Off Duty, The Black Sheep, Fireside Companions, Rook and Pigeon, Lucky at Cards, Unlucky in Love, Between Two Fires, Old Melodies, and The Love Letter.

PDF: Skinner, Charles, The Domestic Pictures of Frank D. Millet, 1907

The Magazine of Art was an illustrated monthly journal about the current visual arts with reviews on exhibitions and articles about artists and other areas of the visual arts. Millet is mentioned among painters who have shown improvement that year. His painting How the Gossip Grew is commended for its delicate color scheme but critiqued for being too precise.

This part in the book goes over some of FD Millet’s life achievements, written books of his, organization memberships, past jobs, places he has traveled, and places where his art has been displayed. It lists 7 medals that he executed for the US army. During the winter of 1908-1909 he painted for the Cleveland Trust Co. of Cleveland, O., 13 panels, approximately 16 feet by 5 feet, representing, in a general way, the history of the settlement of Ohio, and, in addition, executed several portraits. In June 1909, the U. S. Treasury gave him the contract to paint and to decorate in part the so-called Federal Building in Cleveland, O., which must be completed on Aug. 15, 1910. It ends with little information on family life, who he married to, as well as his kids’ names and their schooling.

(Access: https://archive.org/details/sim_harvard-graduates-magazine_1909-09_18_69/page/30/mode/2up)

PDF: Thayer, Williams, et al, A Group of Harvard Painters, 1909

For the Tenth Street Studio reception in Boston, F.D. Millet repeated the first of his four lectures on Roman Costume at the Union League Theater. The most notable event was the rejected watercolors of the evening. Millet is mentioned multiple times throughout this publication.

(Access: https://hdl.handle.net/2027/umn.31951000744725c)

This article discusses the Artists’ Colony at Broadway. Treadway mentions who she calls the “favorite” English artists, such as Alfred Parsons, Frederick Barnard, and Austin Dobson. She discusses the Pre-Raphaelites and how they were first interested in this village of Broadway. Treadway discusses the paintings and writings made in the village of Broadway. The work of Francis Davis Millet mentioned is The Black Sheep.

PDF: Treadway, Beth, The Artists’ Colony at Broadway, 1981

Van Hook approaches American painting from the late 19th century by focusing on how art of this time depicts women. In this article, she narrows her focus down to Mural paintings specifically. She discusses decorative mural painting and the allegorical subject matters they often had. She examines the dominant use of female subjects as the focus of these allegorical, decorative murals and connects it to contemporary attitudes toward women. She also discusses a change in art and the decline of female subjects in allegorical, decorative art by the early 20th century. Van Hook briefly mentions Millet and Thesmophoria in this article but does not provide very much detail on the painting.  

This article is about art shows in New York in 1881. M. G. Van Rensselaer writes a review of different exhibits she attended. On page 200, she details visiting the Academy of Design show, which included Frank D. Millet’s portrait of Miss Kate Field. She described it as: “Mr. Millet’s immense picture of Miss Kate Field showed some very excellent painting, of course, but was showy and striking rather than artistically right, a fact that was owing to the pose as much as anything.” No photo of the art is in the article, just a description from the author.

PDF: Van Rensselaer, Mariana G., The New York Art Season, August 1881 

F.D. Millet is briefly critiqued in relation to his work exhibited at the 20th annual exhibition of the American Water-Color Society. While the critique notes the archaeological and anatomical correctness of the painting, it questions the lighting, suggesting an inconsistency between the interior and exterior illumination. Despite this critique, the inclusion of Millet’s work in this prominent exhibition highlights his recognition as a significant American artist during this period. The annotation provides a glimpse into one of Millet’s paintings and its reception by contemporary art critics.

(Access: https://www.jstor.org/stable/25628512)

This article provides a valuable summary of the life of Francis Davis Millet. It gives great detail on his travels, his works, and his career. This article details his life in Antwerp, Boston, and a few other places he stayed. It also gives details about the societies and jobs he associated with, such as The Daily Advertiser, The Courier, and the Saturday Evening Gazette. The works mentioned by Millet are Charles Francis Adams, Jr.(illustrated), The Arithmetic Lesson, Turkish Waterseller, Portrait of a Lady in Costume of 1740, Sailing in the Bay of Naples (illustrated), A Bashi-Bazouk (illustrated), Chlöe (illustrated), Sweet Mistris Mercie, Corrina, Baby Worship, Story of Oenone (illustrated), A Wild Goose Chase, Poppies (illustrated), A Handmaid (illustrated), Regina Convivii, The Window Seat (illustrated), A Cosey Corner (illustrated), Love Letter (illustrated), How the Gossip Grew (illustrated), The Widow (illustrated), The Granddaughter (illustrated), The Amanuensis (illustrated), At the Inn (illustrated), Antony Van Corlear the Trumpeteer (illustrated), Between Two Fires (illustrated), The Expansionist (illustrated), Study for Weaving (Penelope at her Loom) (illustrated), The Treaty of Traverse des Sioux, The Fourth Minnesota Regiment Entering Vicksburg, Foreman of the Grand Jury Rebuking the Chief Justice of New Jersey, The History of Shipping from the Earliest Recorded Use of Boats until the Present Time, The History of the Settlement of Ohio, The History of Mail Delivery, The Repulse of the Dutch, Thesomorphia (illustrated), and Call Room in the Baltimore Custom House (illustrated).

PDF: Weinberg, Helene Barbara, The Career of Francis Davis Millet, 1977

This article analyses Trinity Church and how the development and decoration of the church came to be through various obstacles such as funding and difference of opinions. Millet was brought onto the project, and this article mentions the painting of the Ox of St. Luke on the north wall which was done by Millet as well as the David on the North Wall. There is more emphasis on the church as a whole but Millet’s few works are briefly touched on. This is not the most useful article pertaining to Millet, and when he is mentioned, it is only a sentence or two just stating the pieces he painted. 

(Access: https://doi.org/10.2307/988938) 

PDF: Weinberg, Helene Barbara, John La Farge and the Decoration of the Trinity Church, 1974

Weinberg’s article mainly discusses American artists trying to find their way, stylistically speaking, after the Civil War. She mentions how many artists move away from landscape and into the more cosmopolitan. In this article, Millet is compared to Eakins and how like many of his contemporaries, Millet was just as talented and knew the “right” themes to approach in his art that would make him a cosmopolitan artist. Weinberg does make an honest observation by stating that with Millet choosing a more “modest” style to his work he was less controversial therefore making it easy for art historians to look over him and instead to someone like Eakins who pushed the boundaries a little bit more. The article includes description and illustration of Millet’s A Hand Maid (The Water Carrier)

PDF: Weinberg, Helene Barbara, Late 19th Century Painting, 1983

This article examines Thomas B. Clarke and his catalogue which he prepared for the loan exhibition to find information on what he collected. This article talks about how he came to own the works he bought and the types of artists he purchased from. A catalogue of his collection can be found at the end of the article. The work by F. D. Millet that he owned, and also the only mention of Millet in this article, is Lacing her Sandal.

PDF: Weinberg, Helene Barbara, Foremost Patron of American Art, May 1976

In this article, White gives a negative review of 1890 Royal Academy Exhibition. White goes on to list and describe a handful of painting and sculptures that have a few redeeming qualities, mainly those by younger artists, but overall, he still concludes that the exhibit is mediocre. The article, in a somewhat backhanded tone, describes Millets painting How the Gossip Grew as a dainty painting without any purpose except decoration.

This text provides an account of the Academy Exhibition, detailing the sparse attendance at the private viewing. It offers critiques of various artworks displayed, including those by F.D. Millet. The review states, Millet’s painting of a fine lady exhibits precision and vivacity in its execution, it is described as lacking character, loveliness, and grace, ultimately being deemed as somewhat empty.

PDF: The Academy Exhibition, New York Times, 1881

Millet is mentioned along with an unnamed painting described as a “young lady in creamy white Robes.” A description of Regina Convivii or Queen of the Feast is mentioned later on, and it is possibly the painting referenced earlier in the article; however, the description is vague and as it is unnamed in the article. It is unclear which of Millet’s paintings it is specifically referring to.

(Access: https://chroniclingamerica.loc.gov/lccn/sn83030214/1884-04-05/ed-1/seq-5/)

PDF: The Academy of Design, New York Tribune, April 1884

This article is a critique of several artists’ artworks which were shown in the Academy of Design exhibition. The author provided brief descriptions of the paintings they were referring to but spent much of the article providing their personal opinions on the artists’ stylistic choices. Millet is mentioned briefly and is given a short critique of his work. However, the article does not mention which artworks they are referring to. Another source would be more helpful in obtaining details about these artworks, as this was an opinion column.

(Access: https://chroniclingamerica.loc.gov/lccn/sn83030214/1876-05-06/ed-1/seq-2/)

PDF: Academy of Design, Fifty-First Annual Exhibition, New York Tribune, 1876

This article critiques some works displayed at The Academy in 1881. Millet’s Portrait of Kate Field and Baby Worship are discussed. The author does not like the portrait and is not very impressed by Baby Worship.

PDF: The Academy Pictures, New York Times, 1881

This article promotes the Fourth Exhibition of the Society of American Artists, highlighting the importance of American artists and the subjects which they depicted. The layout of the exhibition is described by naming and placing each work of art in the room. Additional remarks on the opinions of the author are made after mentioning the work. Additionally, a lecture by Francis Millet is promoted in this article sharing that Millet would be lecturing on various costumes that he had produced. The lecture was organized by the Art Committee of the Union League Club expressing Millet’s involvement in the art world. There is not much information about the specifics of Millet’s creations, only an advertisement of one of his upcoming lectures.

(Access: https://chroniclingamerica.loc.gov/lccn/sn83030214/1881-03-27/ed-1/seq-2/#tab=tab_newspapers)

PDF: Among the Artists, New York Daily Tribune, March 1881

This source mentions Millet giving a lecture on ancient Roman attire. It goes on to explain how the Romans wore clothing differently and also mentions some things that Millet taught in the lecture.

PDF: Ancient Roman Costumes, New York Times, February 1882

This source gives details about Millet’s studio. It explains what the exterior looked like as well as how the interior was organized. The source states that Millet kept his studio very plain because he wanted to focus on the artwork he was currently working on. Millet had a corner filled with different colored fabrics that he looked at when creating his paintings.

(Access:https://news.google.com/newspapers?nid=sArNgO4T4MoC&dat=18750819&printsec=frontpage&hl=en)

PDF: Art and Artists, Boston Evening Transcript, August 1875

This source mentions that Millet will give a course of six lectures on “Greek and Etruscan costume” at the Museum of Fine Arts on March 1st. The lectures are a continuation of costume, specifically on Greek costume Millet gave a year prior and supposedly mentions that they will be illustrated.

This article describes various events happening in the art world. Millet’s work The Window Seat is mentioned in quoting an article from The London Times. It says: “In an article in the London times upon the exhibition of the Institute of Painters in Oil Colors Mr. F. D. Millet’s ‘The Window Seat’ is spoken as follows: ‘Mere satisfactory, and indeed one of the most perfect paintings in the exhibition, is that of Mr. Millet, whose ‘symphony in white’, full of grace, distinction and genuine artistic feeling, is a work which leads us to expect great things from the painter.’”

(Access: https://tile.loc.gov/storage-services/service/ndnp/dlc/batch_dlc_chrysler_ver01/data/sn83030214/00175039995/1884010601/0050.pdf)

This source discusses news that had happened related to art and artists in America. The first news mentioned is a record of sales from multiple exhibitions. It mentions an exhibition at the American Art Gallery that closed on February 3 and that featured one of Millets works, The Poppy Field. This work sold at the exhibition for $375. Millet is also noted to have another exhibition open at the St. Botolph Club. This exhibition was made up of a collection of photographs of Millet’s works. Mentioned works of art include The Poppy Field.

PDF: Art News and Comments, New York Tribune, February 1884

This source shares excerpts from The London News and The Manchester Guardian who wrote about Millet’s No Unwelcome Guest. Both excerpts make mention of Millets use of white on white. The London News praises it more while The Manchester Guardian suggests that the figures appear stiff. The Manchester Guardian excerpt also mentions A Cosey Corner and states that it is the better of Millet’s two works. Mentioned works of art include No Unwelcome Guest and A Cosey Corner.

PDF: Art News and Comments, New York Tribune, December 1884

This article notes Millet exhibiting at the London Academy noting that his work The Window Seat was remarkable, as it seems to be influenced by earlier Northern European artists from the seventeenth century. This article then outlines a disagreement between Mr. Thomas Donaldson and Mr. F. D. Millet regarding protectionism and tariffs on art objects. Donaldson appears dismissive of Millet’s concerns, suggesting they represent only a minority view in the American art community. Millet, however, asserts his right to oppose protectionism as an artist reliant on painting sales for income. He emphasizes his American identity and active role in advocating against tariffs, despite needing more extensive resources compared to Donaldson. Millet underscores the significance of artists’ voices in shaping policies affecting their profession, in contrast to petitions supporting Donaldson’s position.

PDF: Art Notes, New York Times, 1884

This article talks about an exhibition that is taking place at the Corcoran Gallery. A Lily of the Field by F. D. Millet is mentioned. No illustrations or other works by Millet are included.

PDF: Art Notes, Evening Star, 1907

This newspaper article talks about the first exhibition put on by the Art Club at the American Art Gallery. The only mention of Millet is a short excerpt that reads, “Mr. F.D. Millet has turned from his classical models to paint a quiet and harmonious little shore scene, similar in its tone to another by C.S. Reinbart.” There is no other mention of paintings by name or illustrations.

PDF: The Art Club of New York, New York Tribune, February 1883

This newspaper article discusses the collaborative efforts of the Hallgarten and Harper Scholarship Funds to aid deserving art students. Julius Hallgarten entrusted $5,000 to two trustees for the support of American students studying art abroad. At the same time, Harper and Brothers increased the unclaimed $4,500 from a recent art competition to $5,000 and appointed the competition judges as trustees of the Harper Art Scholarship Fund. Trustees from both funds agreed to combine their interests for two years to send a deserving art student abroad, with the jury selecting the scholarship holder chosen through artistic suffrage. Notable trustees of the Harper Art Scholarship Fund include R. Swain Gifford, F. D. Millet, Charles Parsons, Frederick S. Church, and Charles W. Trustlow. The article underscores optimism regarding the direct encouragement of studying art abroad and its beneficial impact on domestic art schools. It expresses hope for increased contributions to enable annual competitions and support multiple students abroad simultaneously, shedding light on philanthropic endeavors in late nineteenth-century art education and the collaborative efforts between private individuals, institutions, and the art community.

PDF: Art Students to Compete, New York Times, 1884

This source states the ballot for new members of the Artists’ Fund Society, and F.D. Millet is on the list.

PDF: Artists’ Fund Society, New York Tribune, February 1882

This article in the newspaper details the reopening of the Artists Society Headquarters in 1884. There was an exhibition with the reopening, and artists showed their work who were part of the organization. Two of Millet’s works were shown: Hymn and Light and Shade. The article is difficult to read due to the faint ink that was used in the newspaper. However, his painting was described as “Our interest in the [r] classical [.] who (chants) Mr. Millet’s ‘Hymn’ is distracted by appreciation of the dainty color scheme of which she forms a part. The harmonious blending of tunic, creamy b[…] shows a color sense unusually delicate and relaxed.” (This disproves the information on the website that the Hymn painting was exhibited starting in 1888. It actually was exhibited in in the 24th Annual Exhibition in 1884 in New York as part of the Artist Fund Society)

(Access: https://tile.loc.gov/storage-services/service/ndnp/dlc/batch_dlc_chrysler_ver01/data/sn83030214/00175039995/1884010601/0048.pdf)

The article from the New York Times talks about the Salmagundi Sketch Club, and the only mention of Millet is a single sentence at the end of the article that mentions how he made an advance in his art the previous year.

(Access:https://timesmachine.nytimes.com/timesmachine/1882/12/02/102934046.html?pageNumber=4)

PDF: Black and White, New York Times, December 1882

Edwin Howland Blashfield, a prominent American artist, shares his reminiscences of a World’s Fair. He reflects on his experiences and observations as a painter during the event, providing insights into the artistic atmosphere, exhibitions, and cultural significance of the World’s Fair. He discusses various aspects of the fair, including the architecture, visual arts, and international influences present. The article offers readers a glimpse into the artistic perspectives and experiences of a participant in this major cultural event. He mentions his time with Millet going to the fair as they express various artistic achievements of the time such as muralist artists. As a primary source written by a notable artist, this article offers valuable firsthand insights into the artistic milieu of a World’s Fair and Blashfiled’s interaction with Millet as they talk about the art world during this time. Blashfield’s reflections provide historical context and shed light on the role of art within the broader context of international expositions. Scholars and enthusiasts interested in the history of art exhibitions, cultural exchange, and the intersection of art and society during the early twentieth century can find this source informative and engaging.

PDF: Blashfield, E. H., A Painter’s Reminiscences of a World Fair, 1923

This source outlines F.D. Millet’s promise to contribute his art for the exhibition of contemporary American art at the Museum of Fine Arts. It also mentions that F.D. Millet will take possession of his New-York studio in November of that year.

PDF: Art and Artists, Boston Evening Transcript, 1880

Mentions that Millet will give a course of six lectures on “Greek and Etruscan costume” at the
Museum of Fine Arts on March 1. The lectures are a continuation of a lecture on Greek costume Millet gave a year prior and supposedly mentions that they will be illustrated.

PDF: Boston Evening Transcript, Art and Artists, March 1882

 Millet is mentioned as part of a group of artists who are on their way to Europe for exhibitions. No paintings of Millets are mentioned, and this is the only mention of Millet in the article.

(Access: https://chroniclingamerica.loc.gov/lccn/sn83030214/1882-05-28/ed-1/seq-2/)

PDF: Close of the Art Season, New York Tribune, 1882

This newspaper article discusses how in 1897, despite the fact that many Americans believed they had to travel to Paris to see good art, there were many masterful works of art by Americans in America. The author then proceeds to describe Senator McMillan’s collection of paintings which includes many great American paintings. One of the paintings in this collection is Roasting Apples, by F. D. Millet. This painting is described in detail and an illustration is provided. The article gives a brief biography of Millet’s life, education, and background. No other works by F. D. Millet are mentioned.

PDF: Detroit Art Collections, Detroit Free Press, November 1897

Several paintings from the Detroit Museum of Art are listed in this article. One painting by F. D. Millet is Reading of the Story of Oenone. The story of Oenone is summarized in this article. No illustrations are included in this article.

PDF: The Detroit Museum of Art, The Kansas City Star, December 190

This newspaper article gives a brief summary of Frank Millet’s history and describes him as someone who keeps their cool and restores order when everyone else loses their head. Kate Field calls him a “Cosmopolitan Yankee” and says he is the “best specimen of an American from all points of view.” She talks about him as an inventor and outlines how he created an invention to help spray paint the buildings for the world’s fair white. There is no mention of specific paintings nor are illustrations associated with this article.

PDF: Field, Kate, Clever Frank Millet, 1892

PDF: Fine Arts, New York Times, 1866

PDF: Fine Arts, New York Daily Tribune, April 29 1875

The Loan Exhibition took on new paintings, several of them being FD Millet’s. One of these works features a peasant eating lunch in a hay-field and another features a full-length sitting portrait of a well-known lady in Boston and Vicinity dressed in the wedding costume of her great-great-grandmother’s. It then speaks of the sitter’s lineage.

PDF: The Fine Arts, Boston Daily Advertiser, February 1876

This source mentions and describes Millet’s piece NorthEaster.

PDF: Fine Arts, New York Tribune, April 1882

This is a newspaper article that talks about an art exhibition with a gallery in Madison Square in New York. Millets work A Roman Patrician, Lawrence Barrett as Cassius was shown there. The article describes the painting. It was described as a loss to the exhibit and a difficult painting to do, as the artist had to paint an actor. The roman costume and background of the painting is held in high regard. The author describes the face as the weak spot of the painting. However, the author also mentions that this painting is a step away from his oriental paintings and is a positive move forward.

PDF: Fine Arts, New York Times, May 1882

This was a lecture given by Millet to the Dorchester post of the Grand Army. This lecture is about incidents of the Turko-Russian War during their winter campaign. His lecture included his very accurately drawn pictures of events from winter campaign like a depiction of the siege of Plevna. Millet also used authentic costumes displayed on actual audience members to further illustrate his account of the war events. One of them was dressed as Russian soldier called a Bashi-Bazouk, which the article relates back Millet’s painting of the same name. Millet is described as very good storyteller and is praised for his ability to captivate the audience. Millet was one of the five correspondents, of the eighty that started at the start of the war, who remained with the army to the end.

The Frome Exhibition, featuring many works of art, took place in August of 1889. Two of Millet’s paintings included were A Quiet Hour and The Amanuensis. The Amanuensis is described in terms of subject matter and is praised as follows: “The minutest detail is wonderfully worked out, and the painting and drawing of an exceptionally high order.” Nothing is said about A Quiet Hour, except that it was lent by Mr. J. J. Tylor. There are no illustrations and no other mentions of Millet.

PDF: Frome Art Exhibition, The Somerset Standard, August 1889

Hyde gives a detailed review of the 1880 Academy Exhibition in New York. He organizes his review by the type of painting, starting with the portraits, then landscapes and marine paintings, and ending with a section for paintings without classification. Millet’s portrait Bashi-Bazouk is described as one of the best single pictures in the exhibition and is listed under the portrait section of the review.

Millet is mentioned under the article “Water Colors and Oil: What the Artists Have Been Doing.” The article describes Millet’s watercolor of a rustic milkmaid. It alludes to details of the coastal elements being pulled directly from his Massachusetts studio.

(Access: https://chroniclingamerica.loc.gov/lccn/sn83030214/1882-01-19/ed-1/seq-7/

PDF: In Gallery and Studio, New York Tribune, January 1882

(PDF: Gossip About the Painters and Sculptors, New York Times, October 1881) 

This article covers the 4th annual exhibition of the Institute of Painters in Oil Colours. There are over 800 pictures of varying degrees of skill included in this exhibit. Two pieces by F. D. Millet are listed and critiqued which are The Click of the Latch and The Interlude (also known as A Difficult Duet). The Interlude is said to be a “clever composition painted with extraordinary industry and fidelity to detail, dexterously handled in the matters of light and learned in ‘values’ – but nevertheless, without the masterly sense of simplicity that is needful to give it artistic life.” The Click of the Latch is simply said to possess “the same engaging qualities as his other picture.” There are no illustrations included in this article.

(PDF: Institute of Painters in Oil Colours, Manchester Courier, December 1886) 

The article argues for the legitimacy of The Royal Academy, and how to best balance up-and-coming artists with those who have established careers. It analyzes many artists within the institute of Painters in Oil Colours, and specifically mentions Millet in the second column, line 40. Works mentioned include The Interlude, also known as The Difficult Duet, 1886. It also mentions a lost work called The Click of the Latch. The painting is described as “A girl in a white dress against a white wall looking out the window.”

(PDF: Institute of Painter in Oil Colours, The Illustrated London News, 1886) 

This article is a review of the paintings which were featured in the Central Gallery of the Institute of Painters in Oil-Colours exhibition. The author names all the paintings that were exhibited in that section, providing a short description of each. Millet has one painting mentioned in the article, Tender Chord. This painting is described as poetic, imaginative, and a charming image of a girl with the guitar. A picture of the painting was not included in the article.

(Access: https://babel.hathitrust.org/cgi/pt?id=chi.60766121&seq=592)

(PDF: Institute of Painters in Oil-Colours, The Illustrated London News, 1888) 

I was unable to find this article on this date in the Boston Globe. However, I found an article on June 4, 1893 titled “Not Afraid of Men: Kate Field and Margaret Sullivan, Two Famous Women Journalists Who Make Money and Influence Public Opinion.” This article talks about Kate Field’s room in Washington and how messy it is with all of her newspaper clippings and papers scattered around. It talks about her and Margaret Sullivan’s careers as women journalists. There is no mention of F.D. Millet, but there is a drawing sketch titled “Kate Field’s Room in Washington,” although it doesn’t say who drew the sketch. There is also a sketch of Kate Field taken from a recent photograph. 

This newspaper article reflects on Millet’s life and accomplishments. The author writes about Millet’s personality. He was modest and kind and had a pleasing demeanor. The author explains Millet’s time as a war correspondent, saying that Millet captured heroic events as well as tragedies in his sketches. The author also discusses his decoration by the Tsar.

(PDF: Millet, Francis Davis, The Exhibition, Boston Daily, May 1876) 

Millet’s review of the Centennial exposition held in Philadelphia, the first world fair to be held in the United States. He spends time comparing the fair to that of the Vienna World Fair. He mentions that he feels the world fair represents America as a “young, growing, flourishing commercial nation.” He also mentions how America is leagues above other countries in terms of the machinery department. He also speaks of how the art department of the world fair is by far the most popular section. It doesn’t mention or illustrate any of Millet’s works.

(PDF: Millet, Francis Davis, The Exhibition, A Comparison with the Vienna, May 1876) 

This article does not mention Frank Millet or his works but was written by him. This article mentions the exhibition Metal and Enamel works which showed metal works from Elkington & CO. It mentions the work processes of cloisonné and repoussé.

(PDF: Millet, Francis Davis, The Exhibition, The Visit of the Commercial Club, May 1876) 

This article was written by F. D. Millet but does not mention any of his works. This article goes into great detail all the aspects of the then new train. Millet talks about its size, how it works, and what people first thought of it. He mentions, “It is a tamed monster with irresistible power!” Millet mentions only the workings of the train as well as his own.

Millet dives into the everyday life of people in Vienna and explains a bit of his time there. He goes on into the exhibition of the World’s Fair and walks through the American section. He explains how the process of setting up the exhibition was slow moving for this section compared to the other sections in the exhibition. There is also mention of the American Schoolhouse and its failure and financial distress. He also comments on the financial crisis of the time.

Try locating at the Dyer Memorial Library and Archives (https://dyerlibrary.org/). 

This article describes the performance of Lawrence Barrett at the Grand Opera House as Cassius. The crowds indicate that he was a popular performer. Millet is not mentioned, but in 1882 he paints a portrait of Barrett as Cassius.

(PDF: Mr. Barrett’s Performances, March 1881) 

This article is all about Thomas B. Clarke and his extensive art collection. The author argues that you do not need to be extremely wealthy to be able to collect art, rather you just need to have good taste and know where to look much like Clarke did. The exhibition was a complete loan of Clarke’s collection; Millet’s painting was number 80 of 140 works on display. The author states several times how tasteful the collection was, which is a good reflection on Millet. It is a good source to see that his art was considered tasteful enough to be collected and displayed by Thomas B. Clarke. The artwork mentioned is Lacing the Sandal.

(PDF: Mr Clarke’s Exhibition, New York Times, 1883) 

This source speaks highly of him and his art. It discusses his ‘three portraits’ being his first in performance portraits. His paintings that it is talking about are done with him only having been doing art for five years. There are two full-length portraits shown at Doll and Richards’s Gallery. The largest portrait is of a young girl wearing a black velvet dress standing on a Turkish rug clasping white flowers. The other painting is of a schoolboy sitting on an old ‘kitchen chair’ as he reads a book. The boy has blue-black clothing, red stockings and a necktie on. It mentions that this piece is the better piece of the three. The last piece mentioned was shown at William’s and Everett’s and is of an old gentleman with a long gray beard. The source ends with honoring Millet as a great American artist and awaiting the future of what he brings to the art world.

(PDF: Mr. F.D. Millet’s Paintings, Boston Daily Advertiser, February 1876) 

This article talks about the 6th annual spring exhibition of the National Academy of Design in Philadelphia which opened to the public on April 6, 1885. There were 655 oil paintings exhibited. One of the paintings in this exhibit was F. D. Millet’s A Window Seat. There is a short description talking about what it looks like. At the end of the article, Millet’s painting The Toilet is said to have sold for $500.

(PDF: National Academy, The Philadelphia Inquirer, April 1885) 

This is a review of the 58th annual exhibition at the National Academy of Design consisting of 746 paintings out of 1,400 submitted entries. Millet’s classic study The Story of Oenone is one of the paintings mentioned and is said to be “admirable for the easy grace of the fair Grecian maidens and for the tender and sympathetic coloring.” No other paintings by Millet are mentioned and no illustrations are included.

This article briefly mentions an upcoming National Loan Exhibit of American Artists, to be held May 17, 1892. It lists a complete catalog of the exhibition including artist, title and owner of each piece. One piece by F. D. Millet is titled At the Inn. The owner was The Union League Club of New York. A portrait of Millet by George W. Maynard is included in this catalog. F.D. Millet is also listed as the owner of the piece, Spring, by E. A. Abbey. There are no illustrations included.

(PDF: National Loan Exhibit, Chicago Tribune, 1892) 

Covering the New Gallery was an art exhibition space or venue showcasing contemporary artworks. The notice included descriptions of the artworks on display, reviews of the exhibition, commentary on the artists featured, and insights into the overall reception of the exhibition by the public and critics. Page 5 mentions Millet and notes him finishing Quiet Hour.

This article states that F. D. Millet’s painting The Christmas Stratagem; Under the Mistletoe, which was reproduced in the current issue of the Century, is noteworthy for two reasons. First, it is important because Millet was “now reckoned as a resident of this city.” Secondly, it has value because it was rumored that this painting would be included in the upcoming Corcoran Gallery’s exhibition. The painting is then described in detail. Charles M. Skinner, who is said to have written an article in the International Studio a few years before, is quoted at length describing Millet’s abilities. Millet is said to be “frugal of sentiment, or, rather, he never lapses into sentimentality.” About his work, Skinner wrote, “their dominant note is tranquility, a sane and delightful attribute, appreciated in these days of restlessness.” No illustrations are included.

(PDF: News and Notes, Evening Star, December 1910) 

This article announces the closing of the annual exhibition of the National Academy of Design after its most prosperous exhibition. There is great detail of the amount that was made from this exhibition and more specifically what brought it this money. A list of the works sold in the week prior include F. D. Millet’s Chloe and the amount it was sold for. There is an exploration into the purpose for the excitement these exhibitions bring to society and how exhibitions continue to become more competitive. There is not much information on Millet, but it does mention an exhibition he was showcased in.

(Access: https://chroniclingamerica.loc.gov/lccn/sn83030214/1881-05-15/ed-1/seq-5/)

(PDF: Notes of Artwork, New York Tribune, May 1881) 

This article provides quick bullet point notes on any updates regarding artists, museums, or artist societies. Most of the provided updates are small notes, such recent artwork sales. Millet is briefly mentioned in the article informing on him taking up a teaching position at the Lowell Institute.

(PDF: Gossip About the Painters and Sculptors, New York Times, February 1881) 

This article talks about the ‘new’ Greek style play ‘Edipus Tyrranus’ which was being performed at Sanders Theater. It claims that a resurgence of interest in Greek language, culture, fashion, etc. made this play very popular with general audiences. All of the costumes were designed by Millet and either made at his studio or in his home in Massachusetts. He was the only one in charge of costuming, and his work was well done. Millet was aided by Professors C. E. Norton and W. W. Goodwin, both of whom specialized in Greek history. The music cost $2500, while the clothing cost $600. More than 400 invitations to the play had been accepted by college professors as well as other academics.

(PDF: Oedipus Tyrannus, New York Tribune, 1881) 

This newspaper article talks about the Baltimore Custom House and the murals Frank D. Millet was painting for it. It mentions that the painting is located in the Call Room of the house. In the short section of this paper, it mentions where Millet is working on the painting, in his studio in Georgetown, D.C., and how he planned to take it section by section. The painting was meant to go on the ceiling of this room in the custom house. It is called a “Marine Masterpiece” by the author of the article. The work mentioned and illustrated by F.D. Millet is Group of Sailing Ships Bound Home.

(PDF: One of the Paintings, Baltimore Sun, January 1908) 

This article makes a very brief mention of Millet. It states that Millet will begin lecturing with Forbes. Millets lecture topic would be “Plevna to Constantinople”. It also includes the detail that Millet would sketch the lecture illustrations in charcoal.

(PDF: Personal, Boston Evening Transcript, July 1880) 

(PDF: Personal, New York Daily Tribune, February 1880) 

The main message of this article is about the exhibition in the gallery for the Academy of Design. The author mentions all of the new artists being shown which include most of Millet’s contemporaries like John Singer Sargent. This article mentions Millet and describes his painting of Reading the Story of Oenone. The author goes into detail about the painting describing the reclining women and how you can feel the cold of the marble on some of their bare feet. This article is a good source for Millet and how some critics viewed his work and just how incredibly detailed some of his paintings are.

(PDF: Pictures at the Academy, New York Times, 1883) 

This article reviews the recent reception by the Boston Art Club. Millet is not mentioned. The author appreciates that prominence is being given to the works of foreign artists and notes that several fine American pictures were also displayed 

(PDF: Art Matters, Reception at the Boston Art Club, May 1870) 

This article critiques various paintings exhibited at the National Academy Exhibition. Millet is praised for his interesting and always intelligent work. His Regina Convivie is listed as his principal contribution. 

Millet gave his lecture on Roman costumes at the National Academy of Design. Millet had a model dressed in a robe so he could demonstrate the classical arrangement of the dress. Additionally, he explained the use of wigs, the kind of makeup used, and jewelry worn by the women of that period.

This newspaper article talks about a lecture series put on by Frank Millet. The evening described is the third of four lectures on the subject of Roman costume. The lecture was held in the Turf Club Theatre and was attended mostly by women. Millet had two women on stage modeling ancient Roman costumes.

(PDF: Roman Costumes Described, New York Times, March 1882) 

This article talks about a lecture that Millet gave about costume and specifically Roman togas.

(PDF: A Roman in Full Dress, New York Times, 1882) 

This article talks about an exhibition done by the club and Millet is mentioned along with a painting that is possibly named Kinney. However, it is unclear if the painting is one of his by another name, as it does not give a description of the work.

(Access: https://chroniclingamerica.loc.gov/lccn/sn83030214/1882-12-21/ed-1/seq-5/

(PDF: The Salmagundi Exhibition, New York Tribune, December 1882) 

Millet’s Portrait of Mr. Lawrence Barrett is described as an unidealized painting that strikes the eye upon entering the gallery of the Society of American Artists. The article goes as a far as to say it’s his most important picture aside from his very realistic paintings of his models in Greek and Roman costume. This portrait is described as showing Millet’s significant knowledge on traditional Greek and Roman costume. The article goes on to critique several other works of art by different artists in the exhibition.

(PDF: Society of American Artists, New York Times, May 1882) 

This article talks about exhibitions that took place during the spring of 1887. Two paintings Millet contributed to the association galleries were, A Difficult Duet, and Old Harmonies. These paintings are said to be “the best examples that he has publicly shown in New York” and that they “demonstrate very clearly that Mr. Millet’s work is the highest rank to which that of any American artist has attained.” No illustrations are included.

(PDF: The Spring Picture Exhibitions, The Sun, May 1887) 

This article highlights Midland artists who were well represented in two exhibitions of the season in May of 1900. F.D. Millet’s painting Wandering Thoughts was exhibited at the Royal Academy and is described in detail in terms of subject matter. Millet’s painting Off Duty was exhibited in the New Gallery in Regent-street. One sentence of description is included for this painting, telling what the painting is about. There are no illustrations in this article.

(PDF: Successful Exhibitions, The Cheltenham Chronicle, May 1900) 

In this article, the author describes her experiences posing as a model for artists for five years. One of the artists she posed for was F. D. Millet. When Millet lectured on Greek costumes, Tivolo modeled the Greek outfits. This is written as a biographical story and illustrated with drawings. One of the drawings is titled Posing for F. D. Millet’s Lecture on Greek Art and shows Millet holding part of the Greek costume out as he lectures.

(PDF: Tivolo, Nativa, More Confessions, October 1890)  

This article talks about an elegant room within the Seventh Regiment Armory of which Millet was involved with creating the frieze. This is the only mention of Millet within the article.

(PDF: Veterans Housed Sumptuously, New York Times, 1881) 

This article talks about the Water-Color Society and some of its members. The first half of the article goes into great detail about Mr. Abbey. It discusses many of his works and gives formal analyses of them. The article also talks about Mr. Kapper, Frank Millet, and Carroll Beckwith. The section containing information about Frank Millet labels him as a master of Greek and Roman clothing, but a poor painter. The paintings mentioned by Frank Millet are not labeled by name but by number. Numbers 261 and 444 are mentioned.

(PDF: The Water-Color Society, February 1882) 

This article discusses several artists and art events coming up. Millet is listed as sending a picture to the Academy and “the picture of a young lady in a Venetian costume” to the Society of American Artists. D’Angelo refers to this as Portrait in Costume. It is also mentioned that Millet in association with George H. Yewell was working on a frieze for Louis Tiffany.

(PDF: What Artists Are Doing, New York Tribune, February 1881)