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The Angelus (c1857-1859). At the sound of the Angelus bell from the church in the distance

The Angelus (c1857-1859). At the sound of the Angelus bell from the church in the distance


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The Angelus (c1857-1859). At the sound of the Angelus bell from the church in the distance

The Angelus (c1857-1859). At the sound of the Angelus bell from the church in the distance, peasants pause in their work to say an evening prayer. Jean Francois Millet (1817-1875) Musee d Orsay, Paris

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Media ID 9783747

© Universal History Archive/Universal Images Group

Agriculture Artist Bell Christian Clogs Distance Evening Field Francois Jean Millet Musee Paris Peasants Potato Prayer Shoes Sound Work Angelus Orsay Pause Sabot


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EDITORS COMMENTS
In this print of "The Angelus" by Jean Francois Millet, we are transported to a serene countryside scene in 19th-century France. As the evening sun casts its warm glow over the fields, a distant church bell chimes, signaling the start of the Angelus prayer. In response to this sacred sound, hardworking peasants pause from their labor and bow their heads in devout reverence. Millet's masterful brushstrokes beautifully capture the essence of these humble workers as they stand amidst rows of potato plants. Their worn-out shoes, known as sabots or clogs, speak volumes about their arduous lives in agriculture. With hands clasped together and eyes closed, they find solace and strength through faith. "The Angelus" is not just a painting; it embodies an entire way of life deeply rooted in religion and tradition. Through his artistry, Millet pays homage to the simple yet profound moments that shape our existence – those instances when time seems suspended and spirituality takes center stage. This exquisite piece can be found at Musee d'Orsay in Paris – a sanctuary for art enthusiasts seeking inspiration from renowned French artists like Jean Francois Millet. The timeless beauty captured within this image serves as a reminder that even amidst toil and hardship, there is always room for reflection and prayer.

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