Prepare to mark your calendars, art lovers, because autumn 2025 is set to deliver a blockbuster exhibition at the National Gallery. Millet: Life on the Land will be the UK’s first major showcase in almost fifty years dedicated to the French painter Jean-François Millet (1814–1875), one of the most influential artists of the 19th century.
This is no ordinary exhibition either; it’s a deep-dive into the life, technique, and themes tackled by a man who dared to elevate rural toil to the realm of grandeur.
At its heart is a showstopper loan from the Musée d’Orsay in Paris, Millet’s iconic painting L’Angélus (1857–9). Yes, the very one Salvador Dalí was a bit obsessed with. This meditation on rural life and spirituality will be the undoubted star of the show, surrounded by around 15 other Millet works sourced largely from British public collections.
A Tribute to Millet’s Legacy
Timed to coincide with the 150th anniversary of Millet’s death, the exhibition is as much a celebration of his legacy as it is of his art. Back in the artist’s own lifetime, his works were a hit with British collectors, many of whom were keen to snap up pieces that spotlighted the dignity and hardship of rural life. What resulted is a remarkable trove of Millet’s works in UK public collections, forming the backbone of this exhibition.
Millet wasn’t your standard painter of landscapes and peasants. Oh no, he was the driving force behind the Barbizon school, a 19th-century movement of artists inspired by the natural world and rural living. Moving to the tiny village of Barbizon in the Fontainebleau Forest in 1849, Millet turned his attention to the labourers of the land, painting them with a majesty typically reserved for gods, saints, and kings.
“Millet endowed rural labourers with dignity and nobility, depicting them in drawings and paintings with empathy and compassion,” explains Sarah Herring, Associate Curator of Post 1800 Paintings at the National Gallery.
Start with the Woodcutters
The exhibition opens with artwork focused on the gruelling tasks of woodcutting and sowing. Among this group are highlights like The Sower (1847–8) from the National Museum Cardiff, Wood choppers (about 1850) from the National Gallery of Scotland, and The Wood Sawyers (1850–2) from the Victoria and Albert Museum. These works don’t just draw attention to the toughness of these jobs but emphasise the fragile existence faced by 19th-century rural workers, particularly those like the woodcutters who owned no land.
Sitting within this section is The Winnower (about 1847?8), acquired by the National Gallery in 1978 and considered one of Millet’s earliest explorations of rural labourers. It’s no exaggeration to say that this painting launched Millet into public consciousness back when it was exhibited at the Paris Salon in 1848. Response was positive then, but later works from Millet saw the critics split, with some accusing him of dangerous radicalism. Whatever your take, there’s no doubt he was touched by the “human side” of his subjects and aspired to capture their quiet resilience.
L’Angélus: The Soul of the Show
Then, of course, there’s the centrepiece, L’Angélus. A man and woman pause in their work to utter a simple prayer, silhouetted against a vast earth and sky. This isn’t just a painting; it’s a scene of stillness, humility, and profound spiritual reflection. Originally commissioned but never collected (awkward), it found its way through art sales and collections, eventually becoming one of the most recognisable works of the 20th century.
“This exceptional loan of L’Angélus, Millet’s most celebrated work, will focus the public’s attention on this fascinating artist,” notes Sir Gabriele Finaldi, Director of the National Gallery. “A painter of rural life, who was sometimes accused of being a dangerous anarchist, Salvador Dalí’s obsession with L’Angélus made it even more famous.”
Women and the Work of Survival
Another standout section highlights the strength and resilience of women working the land. Paintings like The Goose Girl (1854–6) from the National Museum Cardiff and The Milkmaid (about 1853) from the Barber Institute of Fine Arts, Birmingham, will be joined by paired drawings of shepherdesses from collections in Barnsley and Cambridge, together on display for the first time.
The Faggot Gatherers
The final portion of the exhibition turns to the most vulnerable workers of all, women gathering sticks for fuel. With pieces such as The Faggot Gatherers (1850–55) from the National Gallery of Scotland, Millet examines the sheer physicality and relentless struggle of these tasks, jobs that were tightly controlled by authorities and often left to those at the bottom of the social ladder.
Why This Exhibition Matters
Surprising as it seems, Millet’s genius hasn’t graced UK audiences on this scale for nearly half a century. Millet: Life on the Land is set to correct that neglect in a big way, offering visitors a rare chance to explore the life and legacy of an artist who elevated the ordinary into something extraordinary. From his art’s political undertones to the nobility of his peasant figures, this exhibition will be an essential stop for anyone keen on understanding the human side of 19th-century rural life.
This one’s worth travelling for. Keep your eyes peeled for the opening date in autumn 2025. You won’t want to miss it. More information is available at nationalgallery.org.uk.