Annotated Bibliographies

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.

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.

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.

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.

(Access: https://tile.loc.gov/storage-services/public/gdcmassbookdig/poemsofthomasbai01aldr/poemsofthomasbai01aldr.pdf)

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.

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)

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.

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.

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.

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.

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.

This book mentions a list of murals throughout the book that Millet did. It does not include any illustrations. It mentions people that Millet may have worked with as well as artists that worked on other murals.

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.

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)

This source was created in conjunction with an exhibition by the same name held at the Metropolitan Museum of Art from October 1986 – January 1987. This book explores different art forms that were popular among American artists of the late 19th century. Some of these art forms include furniture, ceramics, and architecture. Millet is briefly mentioned in the sections discussing artful interiors, and painters and sculptors. The Tile Club, of which Millet was a member, is also discussed.

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

This catalog would have served as a guide for visitors attending the exhibition providing insights into the artistic trends and styles of the time as showcased by the Boston Art Club. Under the section of Boston Art Club: Twenty-Third Exhibition 1881 it is mentioned that the exhibition went from January 29th and closed on February 19th, 1881. On page n82, Millet’s oil painting of Neapolitan Fisher-boy is noted in the exhibition as number 42. Page n84 notes another oil painting of Millets Philosophy in Summer as number 63. The last to exhibit of Millet’s during this time was another oil Morning in Venice as number 196. Millet was again exhibited in the Boston Art Club: Twenty-eighth Exhibition Watercolors and Works in Black and White 1883. The exhibition went from April 14th to May 12th, 1883. His watercolor Roman Girl is noted on page 371 as number 88 at the price of 250.00.

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

This book outlines how F.D. Millet’s work such as How the Gossip Grew, The Handmaid, and At the Inn, showcase his dedication to accurately portraying the costumes and settings of the past. This interest in the past is seen in the description of Millet’s studio in East Bridgewater, Connecticut—it housed a carefully reconstructed Colonial kitchen and numerous American Colonial objects. Additionally, the book highlights the significant contributions of John La Farge, who was among the first to integrate stained glass into decorative schemes, as seen in works such as those at Trinity Church.

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

On May 10, 1912, the American Federation of the Arts had a memorial meeting specifically for Francis D. Millet. This book has all of the notes and memorabilia for Frank, from friends and associates. Some senators wrote about his life. 25 artworks are included in the book, all black and white, with the titles. In the index, a list of all of Millet’s artworks are included, and with who owns them. Also listed in the index are his literary works. Black and white printed artworks in the book include Sir Chentung Liang Cheng, Mark Twain, Nana, Portrait of Miss Hardie, J. B. Millet (brother), Col. Richard S. Thompson, Wandering Thoughts, The Black Sheep, How the Gossip Grew, The Love Letter, Shall I?, Reading the Story of Oenone, The Cosey Corner, The Black Hat, A Bashi Bazoukm, A Pompeian Girl, Observing the Enemy, On the Road to Russia, Bridge in the Balkans, Thesmophoria, Rebuking the Chief Justice, Treaty of the Traverse de Sioux, Chronological History of Shipping, Praying for the Land, and Repulse of the Dutch.

Both volumes of this source are a history of the artistic life of Augustus Saint-Gaudens. The text of both volumes has been edited and amplified by his son Homer. The source mentions multiple artists that Saint-Gaudens associated with including Frank Millet, Francis Lathrop, and George Maynard. In addition to continuing Augustus’ history, volume 2 includes images of nine portrait reliefs that Saint-Gaudens created, one of which is of Millet.

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.

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.

In this book, Caffin discusses the evolution of American artwork from Colonial times onward, and the influences that European artwork has had on American artists. Caffin talks about the artists who completed their art trainings abroad and eventually came back to America to continue their career. The Society of American Artists was mentioned with a list of the participating artists, including Millet. This book includes Millet’s mural painting, The Treaty of the Traverse Des Sioux. It does not provide a lot of information specific to Millet or that painting but rather includes it as an example of overall influence of mural painting. (Access: https://babel.hathitrust.org/cgi/pt?id=mdp.39015065251228&seq=13)

This is an exhibition catalog of Nicasise De Keyser at the Royal Museum of Fine Arts in Antwerp for the 100th anniversary of his death. Millet and his work are not featured in the catalog. De Keyser was the director of the Antwerp Royal Academy while Millet studied there, and his thematic versatility and wide range of artistic endeavors influenced Millet’s career.

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.

The first Broadway Arts Festival, celebrating the work of John Singer Sargent (1856-1925) and the Broadway Colony took place on June 11-20, 2010. Over fifteen paintings by Sargent were displayed as well as many works of his contemporaries and friends such as Francis Davis Millet and Alfred Parsons. Millet’s works were exhibited admired and showcased in the English countryside.

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)

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.

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.

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.

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.