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The Gleaners (English: The Gleaners; French: Des Glneuses) is a canvas painting created in 1857 by Jean-Francois Miller, a French Barbizonian painter, which is now stored in the Art Museum of Osei in Paris. The painting depicts the situation of people picking up surplus wheat spikes from the ground after the harvest in the autumn in the countryside. The figure in the painting is vivid, concise, bright and soft in tone. It embodies Miller's deep feeling of peasant life and is a typical representative work of realistic artistic style.
The picture depicts one of the most common scenes in the countryside: in autumn, the golden field looks endless. At the front of the picture are three peasant women, bending down to pick up the wheat ears left on the ground after harvesting. The three peasant women are obliquely arranged on the picture, with different gestures and movements. The woman on the right side of the picture, half bent, holding a bunch of wheat in her hand, is carefully inspecting the wheat field that has been picked up once; the farmer in the middle wearing a red headscarf is picking it up quickly, while the other hand is holding a drum bag. She can see that she has picked it up for a while, and there is a small harvest in the bag; the woman in the blue headscarf is picking up a little harvest. It's just come over, the left hand holding the wheat ears picked up by the right hand, and nimbly put them behind, with only a handful in hand. They picked it up so carefully and carefully that they would not miss a ear of wheat. Background is a harvested field, vast, piled-up stacks of wheat, a busy harvesting scene, a carriage full of wheat is about to drive away, there is a rider on the horseback at the same time pointing at the farmers, there are many farmers are working.
Before the mid-19th century, Westerners had always regarded oil painting as a patent of the upper class. Although there are some works about peasants'life in oil paintings, they all appear in the form of satire, but they are just talks for pleasure by nobles after tea and dinner. It was not until realistic painter Miller appeared as a peasant painter that this situation was quietly changed. Some French artists take describing the reality of life as the highest principle of creation. They face up to the naked reality, describe the real life boldly and without gloss, affirm the significance of ordinary people in art and expose the evil of capitalist society.
In 1849, kala-azar spread in Paris. In order to avoid the plague, Miller and his family moved to Babison village near Fontainebleau, a suburb of Paris. Miller was greatly shocked by the beautiful natural scenery and simple folk customs of Babison Village. From then on, he lived here as a farmer who came home early and late, but he did not give up his favorite paintings. Every night when he came home, he would create in the dim light. It is also at this time that the peasant began to enter his picture, and he therefore found his own theme. Later, he said, "In any case, the subject of peasants is the most appropriate for me." The Spike Picker is a work of the period during which Barbizon lived.
Miller's description of "picking up wheat" is often seen in France in the past. The owner of the wheat field allowed some children and women to gather ears of wheat in the field during the harvest season. It is said that this custom was handed down from ancient Hebrews. Miller showed the hardship of the working people and the hardship of the peasant life with such an ordinary action of picking up spikes. Although in one way, allowing the poor people to pick up wheat ears in the field reflects the hard work of grains and sympathy for the poor people, from another point of view, the act of picking up ears properly reflects the suffering of farmers'lives. Miller did not use the upper class people as the main characters of the picture, but chose three ordinary farmers and three women, who acted as real peasants working in the field as in real life, because in Miller's view, the image of the down-to-earth working peasants itself is beautiful, Miller just put forward In ordinary life, the most reflective moment of the character's inner essence is fixed. Although picking up spikes is a very common action, it has been sublimated in the author's brush. In the picture, they have no anger, no complaint, only piety to pick up ears of wheat, this piety like silent cry, shocking the ruling class. At the top right of the picture is a man riding on horseback as if he were a supervisor. He pointed at the peasants who worked as if they were still scolding them in his mouth. This detail shows how sad it is that the peasants are working for the landlords. They have been tired for a year and have not brought wealth. They still have to pick up ears of wheat to supplement their rations. Scene. The picture of three peasant women picking up wheat ears and working hard in the scorching sun contrasts the rich rural harvest scene with the bitter work of peasants, truly expresses the hardship of people's lives, and profoundly reveals the class contradiction behind it. Peasant paintings emerged in the 19th century and showed profound class contradictions, which were inseparable from the social environment at that time. 
The three peasant women in the picture all wear headscarves, but Miller uses three different colors, red, yellow and blue. The three primary colors of red, yellow and blue are used ingeniously here. The whole picture uses charming warm yellow tone. The two steady and strong colors of red and blue melt into the soft yellow tone, making the whole picture quiet. And solemn. The quietness in the foreground is in sharp contrast to the tense labor in the background. At the same time, it closely connects the foreground with the labor in the background. The picture is harmonious, like a symphony. Miller's images are not very meticulous, the five features are blurred, only with thick lines to outline the characters.