小米是让-路易-尼古拉和艾梅-亨丽埃特阿德莱德亨利·米勒的第一个孩子，在村养殖小区的成员Gruchy，在格雷维尔阿盖（诺曼底）。在两个村牧师的指导下，小米收购拉美和现代作家，一个知识被送到前瑟堡于1833年，名为肖像画家研究保罗Dumouchel。在1835年以前，他就读的全日制与吕西安-泰奥菲尔朗格卢瓦，的学生男爵格罗斯，在瑟堡。通过朗格卢瓦和其他人提供津贴启用小米搬到巴黎在1837年，他就读于巴黎高等美术学院与保罗·德拉罗什。 1839年他的奖学金被终止，他的第一次提交给沙龙遭到拒绝。

巴黎
他的第一幅画，一幅肖像，在1840年的沙龙被接受后，小米回到瑟堡，开始了职业生涯，作为一个肖像画家。然而，次年他娶波林-小野和Virginie，他们搬到了巴黎。在经过1843年的沙龙和Pauline的死亡由拒绝消费，小米再次返回瑟堡。1845年，小米搬到了勒阿弗尔与凯瑟琳·勒梅尔，其中他将在1853年民事仪式结婚; 他们将有九个孩子，并保持共同为小米的余生。在勒阿弗尔，他画的肖像和小流派件数月，搬回巴黎之前。

这是在巴黎中间19世纪40年代的小米结识恒特罗旺，纳西斯迪亚兹，查尔斯雅克和泰奥多尔·卢梭，谁像小米，将成为与巴比松画派相关的艺术家; 奥诺雷·杜米埃，该数字制图术会影响小米的后续渲染农民科目; 和阿尔弗雷德Sensier，一个政府官员谁将会成为终身的一名支持者，并最终艺术家的传记。在1847年他的第一次沙龙的成功带着展览一幅画的俄狄浦斯从树取下来，并在1848年他的风选出被收购政府。

犹太人在巴比伦被掳，小米当时的最雄心勃勃的工作，是在1848年的沙龙亮相，但被艺术评论家和公众嘲笑。这幅画最终消失不久后，导致历史学家认为，小米摧毁了它。1984年，科学家们在艺术的波士顿博物馆的X光检查小米的1870年油画年轻的牧羊女寻找细微的变化，并发现有人画了圈养。现在人们认为，小米重复使用画布当原料在期间供不应求普法战争。

巴比松
1849年，小米画收割机，为国家的佣金。在这一年的沙龙，他展出牧羊女坐在森林的边缘，一个很小的油画，这标志着一个转弯，从之前的理想化的田园主题而去，有利于更现实和个人的做法。[6]在六月那年，他定居在巴比松与凯瑟琳和他们的孩子。

1850年小米公司与Sensier，谁以换取素描和油画所提供的材料和金钱的艺术家，而小米同时可以自由地继续销售工作，其他买家以及安排。[7]在这一年的沙龙，他展出干草机和播种者，他的第一个杰作和最早的绘画将包括标志性的三重奏的拾穗和三钟经。

从1850年到1853年，米勒曾在收割机休息（露丝和波阿斯），一幅画，他会考虑他的最重要的，在他工作的时间最长。设想能比他的英雄米开朗基罗和普桑，也有人认为标志着他从农民生活的象征性意象到当代社会状况的描述过渡的画。这只是他曾经日的画，是为了争取他的正式承认，二等勋章在1853年的沙龙第一部作品。

 
三钟经这幅画是由托马斯·戈尔德阿普尔顿，美国的委托艺术收藏家总部设在马萨诸塞州波士顿。阿普尔顿以前与小米的朋友，巴比松画家学常数特罗旺。它是在暑假期间完成了1857年小米增加了一个尖顶，改变了工作的初步称号，祈祷马铃薯作物，以三钟经时，购买者未能占有它于1859年向公众展示的第一次在1865年，这幅画多次易手，在值仅略有增加，因为有些人认为艺术家的政治同情怀疑。当小米去世十年后，美国和法国之间的竞购战接踵而至，80万金法郎的价格标签结束几年后。

画的表面价值和小米的遗属不佳地产之间的差距是的发明中的一大动力，追续权，打算当作品被转卖，以弥补艺术家或其继承人。
 

尽管他在沙龙展出画作的评论褒贬不一，小米的声誉和成功通过19世纪60年代长大。在十年的开始，他承包画25件作品以换取在未来三年，在1865年每月津贴，另一个靠山，埃米尔Gavet，开始调试粉彩一个集合，它最终将包括90件。 1867年，世界博览会举办他的作品的主要表现，与拾穗者，三钟经和马铃薯种植展出画作之中。次年，弗雷德里克哈特曼委托四季 25000法郎，小米被命名为骑士德拉荣誉军团勋章。

1870年，米勒被选为陪审团沙龙。那年晚些时候，他和他的家人逃离普法战争，转移到瑟堡和格雷维尔，并没有返回到巴比松直至深夜在1871年他的最后几年通过财务上的成功，增加官方承认被标记，但他无法履行因健康恶化政府委员会。1875年1月3日，他在一个宗教仪式结婚的凯瑟琳。小米在1875年1月20日去世。

拾穗这是最知名的米勒的画作之一，拾穗（1857年）。虽然小米在走动巴比松的字段，一个主题，回到了他的铅笔和画笔七年如─ 拾遗贫困妇女和儿童的-the百年历史正确地卸下粮食留在收割后的字段的位。他发现主题永恒的，挂旧约故事。在1857年，他提交的绘画拾穗沙龙到冷淡，甚至是敌对的，公开的。

（早期版本包括绘于1854年的垂直组成，1855年至1856年这直接预示着绘画的水平格式目前在奥赛博物馆的蚀刻。）

温暖的金光表明在这个日常场景里生存的斗争发生什么神圣和永恒的。在他多年的筹备研究，小米考虑如何最好地传达重复和疲劳感，在农民的日常生活。线追踪在每个女人的背上导致地面然后备份的重复运动等同于它们无休止的，繁重的劳动。沿着地平线，夕阳剪影与谷物其丰富的栈的农场，而相比之下，在前景中较大的人影。拾穗的深色衣服朴素稳健切形式针对金河田，给每个女人高贵，巨大的力量。

Millet is Jean Louis Nicola and Amy - the first child Henry Miller Henriette of Adelaide, in the village farming community members in Gruchy, Greville A Guy (Normandy).  in the two village priest under the guidance of millet acquisition of Latin American and modern writer, a former knowledge was sent to Cherbourg on 1833, a portrait painter Paul Dumouchel. In 1835, he attended full-time with Lucien Teo Phil Langlois, the student Baron Gros, at cherbourg. By Langlois and others to provide allowances enabled millet moved to Paris in 1837, he studied at the Academy of Fine Arts in Paris and Paul Delaroche. His scholarship was terminated in 1839, and his first submission to the salon was rejected.
Paris
His first painting, a portrait, was accepted at the salon of 1840, millet returned to Cherbourg, began occupation career as a portrait painter. However, the following year he married Pauline Onokazu and Virginie, they moved to Paris. After the 1843 salon and Pauline's death by refusing to consume, millet returned to cherbourg.  1845, millet moved to Le Havre with Catherine Lemerre, where he will be married in a civil ceremony in 1853; they will have nine children and stay together for the rest of their lives  in Le Havre, he painted a portrait of a small number of schools and the month before moving back to Paris.
This is the meet in the middle of Paris Hengte 1840s millet Luo Wang, Diaz Onassis, Charles Jacques and Odor Russo, who like millet, will become associated with the Barbizon artists; Honore Dumie, the digital mapping operation will affect the subsequent rendering of millet farmer subjects; and Alfred Sensier, a government official who would become a lifelong supporter the biography of the artist, and finally.  in 1847 his first salon success with a painting exhibition of Oedipus taken down from the tree, and in 1848 he was acquired by the government for the wind.
The Jews in exile in Babylon, millet was most aspiring work, was unveiled at the 1848 salon, but by art critics and the public ridicule. The painting eventually disappeared soon after, leading historians to believe that millet destroyed it. In 1984, scientists in the art of the Boston Museum of X, the younger sister of the 1870 oil paintings of millet, searched for subtle changes, and found that someone painted a captive. Now people think millet repeatedly used canvas during the Franco Prussian War when the raw material supply.
Barbizon
1849, millet painting harvester for the national commission. In this year's salon, he exhibited shepherdess sitting at the edge of the forest, a small oil painting, which marks a turn from the ideal before the pastoral theme, is conducive to more realistic and personal approach. in June of that year, he settled in Barbizon and Catherine and their children.
1850 millet company with Sensier, who in exchange for drawings and paintings provided by the material and money of the artist, while millet is also free to continue to sell the work of other buyers as well as arrangements.  in this year's salon, he exhibited haymakers and the sower, his first masterpiece and the earliest painting will include the logo of the Gleaner and three clock by the trio.
From 1850 to 1853, Miller worked at the harvester break (Ruth and), a painting, he would consider his most important, the longest in his work. Imagine a transition that can be compared to his hero Michelangelo and Poussin, who also argue that he symbolizes the symbolic image of peasant life to the description of contemporary social conditions. This is only the day he had a painting, is to fight for his official recognition, two medals in the first salon in 1853.
Three minutes after this painting was commissioned by Thomas Goldappleton, the United States commissioned art collector based in Boston, massachusetts. Appleton had friends with millet, learn constant Troyon Barbizon painters. It was completed in 1857 during the summer millet added a spire, changed the title of the preliminary work, pray to the crop, three minutes after, buyers failed to share it in 1859 to show to the public for the first time in 1865, the picture changed hands several times, only a slight increase in value, because some people think that the artist suspected political sympathy. When millet died ten years later, between France and the United States a bidding war ensued, several years of the end of the 80 thousand francs price tag.
A large gap between the surface of the invention estate value and millet painting in the family is poor, droit, to when the work was sold, to make up for artists or their heirs.

Although he exhibited mixed reviews in the salon, millet reputation and success by 1860s to grow up. At the start of the ten year, he contracted 25 Works of painting for three years in the future, in 1865 monthly allowance, another patron, Amir Gavet, Fencai start debugging a set, it will eventually include 90 parts. In 1867, the main performance of the World Expo of his works, and the average, three minutes after the potato planting and exhibition of paintings. The following year, Frederick Hartman commissioned four seasons 25000 francs, millet was named the Legion of honor legion of QiShi della.
In 1870, Miller was chosen as a jury salon. Later that year, he and his family fled the Franco Prussian War, transferred to Cherbourg and Gray Sewell, and did not return to Barbizon until late in the 1871 through his financial success last year, increased officially marked, but he is unable to perform due to deteriorating health administration committee. In January 3, 1875, he married Catherine at a religious ceremony. Millet died in January 20, 1875.
This is one of the most famous paintings Gleaner of Miller, Gleaner (1857). Although millet in the field around the Barbizon, a theme, back to his pencil and brush for seven years as a poor women and children -the 100 years right after harvesting grain in the field under the unloading of the position. He found the theme eternal, the Old Testament story. In 1857, he submitted the painting to the salon Gleaner cold, even hostile, open.
(vertical, including early versions painted in 1854 1855 to 1856 which directly indicates the level of the current format painting in the Orsay Museum of etching.  )
The warmth of the golden light indicates that the struggle for survival in this daily scene takes place in what is sacred and eternal. In his many years of preparatory research, millet considers how best to convey a sense of repetition and fatigue in the daily lives of farmers. Line tracking on each woman's back leads to the ground and then backs up the repetitive movement equivalent to their endless, heavy labor. Along the horizon, with its rich sunset silhouette of grain stack farm, by contrast, in the foreground of the figure. The average dark clothes cut in the form of simple sound for every woman to noble, GoldenField, great power.