Annotated Bibliography
BIBLIOGRAPHY OF FRANCIS DAVIS MILLET SOURCES
This bibliography provides a comprehensive list of sources related to Francis Davis Millet, his life and works, and the history of American art in the late nineteenth-early twentieth century. It is divided into four sections, each of which lists sources alphabetically: Books, theses/dissertations, journal articles, newspaper articles. For any sources available online, a link has been provided in the annotation. Sources specific to each work of art in the gallery of this online catalog are listed in the individual entries. See credits at the end of the bibliography for contributors.
BOOKS
Ackerman, Gerald M. American Orientalists. Paris: ACR Edition, 1994.
A variety of American artists who painted subjects from locations such as North Africa, Asia Minor and various Turkish regions are featured in this book. The two paintings illustrated and described by Frank Millet are The Turkish Water Seller, 1874, and The Turkish Soldier, 1878. While this book gives a nice overview of Millet’s life, including his birth, education, training, newspaper work, marriage, etc., emphasis is placed on the times in his life where he had “oriental” encounters. More detail is provided about his time in the war, his time with his Greek man servant, Paolo, as well as his travels down the Danube River. Ackerman mentions the painting Millet was working on for an exhibition at the Brussels Salon, Sailing on the Bay of Naples, which was later completed in 1874.
PDF: Ackerman, Gerald M., American Orientalists, 1994
Adams, Charles Francis, Jr. Charles Francis Adams 1835-1915. An Autobiography. Boston: Houghton Mifflin Company, 1916.
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.
PDF: Adams, Charles Francis Jr, Charles Francis Adams, 1916
Adams, Charles Francis, Jr. The Vienna Exposition and the Philadelphia Centennial, Report of Charles Francis Adams. Jr. commissioner of the State of Massachusetts to the Universal Exposition at Vienna. Boston: Estes & Lauriat, 1874.
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.
PDF: Adams, Charles Francis Jr., The Vienna Exposition, 1874
The Adjutant General. Massachusetts Soldiers. Sailors, and Marines in the Civil War. Massachusetts: Norwood Press, 1932.
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.
PDF: The Adjutant General, Norwood Press, 1932
Aldrich, Thomas Bailey. The Poems of Thomas Bailey Aldrich in Two Volumes. Boston and New York: Houghton, Mifflin and Co, 1907.
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.
PDF: Aldrich, Thomas Bailey, The Poems of Thomas Bailey, 1907
Alperin, Richard J. Art’s Anglo-American Paper Lion: John McLure Hamilton’s Untold Story. Philadelphia: Junius, Inc., 1993.
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.
PDF: Alperin, Richard J., Art’s Anglo-American Paper Lion, 1993
Anderson, Mary. A Few Memories. New York: Harper and Brothers Publishers, 1896.
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.
PDF: Alperin, Richard J., Art’s Anglo-American Paper Lion, 1993
Ayres, Linda. “The American Figure: Genre Paintings & Sculpture.” In National Gallery of Art, Washington. An American Perspective: Nineteenth-Century Art from the collection of Jo Ann & Julian Gamz, Jr. Washington, D.C.: National Gallery of Art, Washington, (1981) 41-83.
Barker, Virgil. American Painting: History and Interpretation. New York: The Macmillan Company, 1950.
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.
PDF: Barker, Virgil, American Painting, 1950
Barrie, Robert. My Log. Philadelphia: Franklin Press, 1917.
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.
PDF: Barrie, Robert, My Log, 1917
Barrow, R. J. Lawrence Alma-Tadema. London: Phaidon Press Limited, 2003.
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.
PDF: Barrow, R. J., Lawrence Alma-Tadema, 2003
Betsky, Celia. Inside the Past: The Interior and the Colonial Revival in American Art and Literature. New York: W. W. Norton & Company, 1985.
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.
PDF: Betsky, Celia, Inside the Past, 1985
Blashfield, E.H., and Robbins H.C. “List of Mural Paintings in the United States.” Essay. In The Brochure of the Mural Painters: A National Society Founded 1895, 45–72. New York City, New York: The Society, 1916.
Blaugrund Annette. Paris 1889: American Artists at the Universal Exposition. Philadelphia: Pennsylvania Academy of Fine Arts, 1989.
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.
PDF: Blaugrund, Annette, American Artists at the Universal Exposition, 1989
Bolger Burke, Doreen “Francis Davis Millet.” In American Paintings in the Metropolitan Museum of Art. Vol. III . Edited by Kathleen Luhrs. New York: The Metropolitan Museum of Art, (1980).
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.
PDF: Bolger Burke, Dorren, Francis Davis Millet, In American Paintings in the Met, 1980
Bolger Burke, Doreen et al. In Pursuit of Beauty. Americans and the Aesthetic Movement. New York: The Metropolitan Museum of Art, 1987.
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.
Boston Art Club. Catalogue of the Twenty-Second Exhibition of Paintings. Boston: Mill, Knight & Co. Printers, 1880.
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.
Brooklyn Museum. The American Renaissance. 1876-1917. Brooklyn: Brooklyn Museum, 1979.
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.
Brown, Glen. Francis Davis Millet Memorial Meeting. Washington, D.C.: American Federation of Arts, 1912.
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.
Saint-Gaudens, Homer, ed. The Reminiscences of Augustus Saint-Gaudens. 2 vols. London: Andrew Melrose, 1913.
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:
Burnham, Daniel H. The Final Official Report of The Director of Works of The World’s Columbian Exposition. Reprint, New York and London: Garland Publishing, Inc., 1989.
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.
PDF: Burnham, Daniel H., The Final Official Report, 1989
Burnham, Daniel Hudson and Francis Davis Millet. World’s Columbian Exposition: The Book of the Builders: Being the Chronicle of the Origin and Plan of the World’s Fair. Chicago: Columbian Memorial Publication Society, 1894.
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.
PDF: Burnham, Daniel Hudson and Francis Davis Millet, The Book of Builders, 1894
Burns, Sarah. Inventing the Modern Artist: Art and Culture in Gilded Age America. New Haven: Yale University Press, 1996.
Caffin, Charles. The Story of American Painting: The Evolution of Painting in America from Colonial Times to the Present. New York: Frederick A. Stokes Company, 1907.
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)
Cardyn-Oomen, Dorine, “Nicaise De Keyser (1813-1887).” In Nicaise De Kevser: Antwerps Portret 5-19. Antwerp: Nationaal Hoger Instituut en Koninklijke Academie voor Schone Kunsten in association with Koninklijk Museum voor Schone Kunsten te Antwerpen en de Stad Antwerpen, 1987.
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, Carolyn Kinder, and George Gurney. Revisiting the White City: American Art at the 1893 World’s Fair. Hanover: University Press of New England, 1993.
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.
PDF: Carr, Carolyn Kinder, and George Gurney, Revisiting the White City, 1993
Catalogue of Pictures of the Tile Club, Exhibited at the St. Botolph Club. Boston, February 26, 1882.
A Celebration of the Work of John Singer Sargent and the Broadway Colony. Broadway Arts Festival, June 11-20, 2010.
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.
Champney, James W. and Frank D. Millet. Massachusetts Artists Centennial Album. Boston: J.R. Osgood & Co., 1876.
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)
PDF: Champney, James W. and Frank D. Millet, Massachusetts Artists, 1876
Child, Theodore. Art and Criticism. New York: Harper & Brothers, 1892.
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.
PDF: Child, Theodore, Art and Criticism, 1892
Clarke, Thomas. The Private Collection of Thomas B. Clarke of New York. New York: The Studio Press, 1883.
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.
PDF: Clarke, Thomas, The Private Collection, 1883
Coffin, William A. Francis Davis Millet’s Easel Pictures. Washington, D.C., MD: American Federation of Arts, 1912.
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.
PDF: Coffin, William A., Francis Davis Millet’s Easel Pictures, 1912
Cook, Clarence, Art and Artists of our Time, 6 vols. New York: Selmer Hess, 1888.
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.
(PDF: Cook, Clarence, Art and Artists, v. 2)
(PDF: Cook, Clarence, Art and Artists, v. 3)
Cortissoz, Royal. American Artists. New York and London: Charles Scribner’s Sons, 1923.
This book was written to express appreciation and honor artists in America who helped build up the school and foundation of American art. “Frank” Millet’s character is mentioned concerning how fascinated he was with Japanese art, how serviceable he was to his fellow men, and his passion for life. Cortissoz paints Frank as someone with zeal for everything he does. The activities Cortissoz mentions are Frank’s war correspondent position, journalism, official administration of exhibitions, committees, and art juries. A furniture collection is addressed as well as his mural painting done for the Capitol at St. Paul. No artworks are mentioned or shown.
Cresson, Margaret French. St. Paul’s Church, Stockbridge, Massachusetts: A list of the memorials and the people who made them. Stockbridge, Massachusetts: Stockbridge, Massachusetts, 1960.
This source mentions many of Millet’s accomplishments briefly. This book mentions a memorial that was made for Charles Hempstead Plumb 1829—1900 Mert Heaton Plumb 1833-1916 by FD Millet. It is of a Christian soldier with a splendid blue window of a Christian warrior, a Knight in Armor, claimed to be one of the handsomest in the Church.
PDF: Cresson, Margaret French, St. Paul’s Church, 1960
Crowninshield, Frederic. Mural Painting. Boston: Tichnor and Company, 1887.
This book is a collection of papers originally published in The American Architect and talks about the genre of mural painting. The author lists a recipe for modern wax painting and credits the inventor this particular mix of wax and turpentine to Millet. Millet’s mix is essentially the same as the one used in ancient times. No works of art by Millet are mentioned.
Detroit Institute of Arts and the National Gallery of Art, Washington. American Paintings from the Manoogian Collection. Washington, D.C.: National Gallery of Art, 1989.
This catalog features several paintings from the Manoogian Collection found at the National Gallery of Art in Washington D.C. One of the paintings in this collection is The Window Seat, 1883 by F.D. Millet. A nice color illustration is included of this piece as well as a detailed summary, highlighting this work as a masterful painting of light which Millet highly valued. A summary of Millet’s life is included in the artist biography and addresses his work as a painter, writer, war correspondent and as well as other professional accomplishments. The biography mentions the painting Reading the Story of Oenone as Millet’s first painting entered into a public museum collection. It also lists The Granddaughter, 1885 and Between Two Fires, 1891 as examples of historical genre scenes for which Millet was known.
The Development of Civilization in America. Descriptions by Leila Mechlin. Cleveland: The Cleveland Trust Company, 1908.
This book is a series of pages of the development of America as shown through the paintings of F. D. Millet. Each painting by Millet is accompanied by a description. These paintings consist of thirteen panels, and it took more than a year to complete. Millet and his assistants worked from morning until night, as described by Leila Mechlin. The panels were made for The Cleveland Trust Company building. The paintings by Millet mentioned are not named but labeled and illustrated on each page as follows: The Norse Discoverers, The Puritans, Exploration by Land, LaSalle on Lake Erie, Father Hennepin at Niagara Falls, Exploration by Water, Migration, Buying Land from the Indians, Surveying the Site of Cleveland, Felling the Timber, Building the Log Cabin, Plowing the Clearing, and Gathering the Harvest.
PDF: The Development of Civilization in America, The Cleveland Trust Company, 1908
Dreishpoon, Douglas and Susan E. Meneoni. The Arts of the American Renaissance. New York: Hirschl & Adler Galleries, Inc., New York, 1985.
This book has artwork that was shown through the Hirschl & Adler Galleries in New York. Millet is mentioned on pages 11-12, 80-82. Artworks mentioned are Turkish Water Seller, Thesmophoria, and After the Festival. Each artwork is described and illustrated with date, size, owner, and galleries where it was shown.
PDF: Dreishpoon, Douglas and Susan E. Meneoni, The Arts of the American Renaissance, 1985
Edwards, Holly and Brian T. Allen et al. Noble Dreams. Wicked Pleasures: Orientalism in America. 1870-1930. Princeton: Princeton University Press in Association with The Sterling and Francine Clark Art Institute, 2000.Goes Here
This course presents a comprehensive exploration of Orientalism in America during the late nineteenth and early twentieth centuries. The book examines the fascination and romanticization of the Orient in American art, literature, and culture during this period. Millet is mentioned on page 168 saying that Millet was not an Orientalist; rather, he was a man that was fascinated with life. His work The Turkish Water Seller, 1874 is described as a work that does not tell a story or convey a weighty message but is a piece about surfaces, colors, and textures. The Turkish Water Seller is illustrated in color on page 169.
PDF: Dreishpoon, Douglas and Susan E. Meneoni, The Arts of the American Renaissance, 1985
Engstrom, Peter. Francis Davis Millet: Titanic Life. Millet Studio Publishing, 2010.
This book is a self-published biography of Francis Davis Millet written by a historian who owned and lived in Millet’s former studio in East Bridgewater, Massachusetts. The book provides a chronological history of major events in Millet’s life from birth to death accompanied by excellent photographs of Millet, his family and friends, and other locations and events of his life.
Exhibition of Works by Living American Artists. Nov. 9 to Dec. 20. 1880. Boston Museum of Fine Arts. Boston: Alfred Mudge & Son, 1880.
This source lists paintings exhibited in the 1880 exhibition, including George Maynard’s Portrait of the War Correspondent of the London Daily News and works by for sale Millet: Corinna, Sweet Mistris Melody, and Chloe.
Fairbrother, Trevor J. ed. The Bostonians: Painters of an Elegant Age. 1870-1930. Boston: Museum of Fine Arts, Boston, 1986.
In the section of the book that mentions Millet, it is mainly about the artist Otto Grundmann.
Millet is discussed possibly having helped Otto to move away from only painting genre scenes and influenced him to teach at the Museum School in Boston. Millet is also mentioned to have supported William Morris Hunts teaching and supports the idea that all American artists would benefit from spending time in Europe, much like he did. This is a good source to see how Millet was influential amongst other artists during his time. His work is not mentioned in this writing.
PDF: Fairbrother, Trevor J. ed., The Bostonians, 1986
Findling, John E. Historical Dictionary of World’s Fairs and Expositions, 1851-1988. New York: Greenwood Press, 1990.
The world’s fairs and expositions held from 1851 to 1988 are discussed in this book. It includes an overview and summary are given of the World’s Columbian Exposition in Chicago in 1893. Millet is mentioned only once in this overview for the part he played in enlisting many of the best-known American artists and sculptors to work on the decorative details for the exposition. No illustrations or specific artworks are mentioned.
PDF: Findling, John E., Historical Dictionary, 1990
Fink, Lois M. and Joshua Taylor. Academy: the academic tradition in American art. An exhibition organized on the occasion of the one hundred and fiftieth anniversary of the National Academy of Design, 1825-1975. National Collection of Fine Arts, Smithsonian Institution, 1975.
This catalog provides a comprehensive examination of the academic tradition in American art, shedding light on its development, influences, and key figures. On page 106 Millet is noted for his involvement in the American Academy in Rome that was founded in 1894. He is again mentioned on page 116 as he was a lecturer on Roman costume. On page 117 Millet was noted as being a lecturer on antique costumes in 1887-88. On page 206 his work Queen of the Feast 1884 is mentioned and illustrated as it was exhibited at the National Academy of Design.
PDF: Findling, John E., Historical Dictionary, 1990
First Exhibition of Contemporary American Oil Paintings, February 6 – March 10, 1907. Corcoran Gallery, Washington, DC.
This exhibition catalog displays a variety of works from the First Exhibition of Contemporary American Oil Paintings, held at the Corcoran Gallery. Millet’s paintings are mentioned extensively throughout the catalog. It first mentions his work Rook and Pigeon from 1907 on page 36 in Gallery C. It was lent to the exhibit by Mr. H. McKown Twombly. It then mentions A Lily of the Field on page 69. Unfortunately, the catalog does not state the date of creation. On page 76, it displays the full name and address of Millet, who was residing in New York City at the time. On page 30 of Gallery B, Millet’s work The Black Sheep is featured. The date this work was created is unknown. Millet is mentioned as chairman of the Jury who decided the recipients of awards for those who exhibited in the Corcoran Gallery. Millet is again featured in Gallery G, page 71. This time, Millet is exhibiting A Skirmish, a work lent to the exhibit by John J. Waterbury. This is also a lost work. Gallery G also features his work The Trap, which has also been lost. On pg. 72 of the final section of the book, Millet is shown having an updated address, this time in Washington D.C.
PDF: First Exhibition of Contemporary American Artists, Corcoran Gallery, 1907
Fischer, Diane P., ed. Paris 1900: The “American School” at the Universal Exposition. Montclair, New Jersey: The Montclair Art Museum, 2000.
This catalog examines how Francis Davis Millet, along with other notable figures such as John Singer Sargent and Edwin Austin Abbey, represented the United States at the 1900 Paris Exposition. Despite residing in Europe, Millet and his fellow expatriates were determined to exhibit as U.S. citizens, a decision that ultimately prevailed after a ruling by French authorities. Millet’s contributions to the exposition included serving as a class juror and supervisor of decorations in the U.S. pavilion, where he insisted on using Colonial furnishings. This decision coincided with a transition in his artistic focus from British themes, as seen in works like Unconverted, to American subjects.
Fourteenth Annual Exhibition of the Water Color Society, 1881.
This is an exhibition catalog for the 14th Annual Exhibition of the American Water Color Society in New York from 1881. Millet had 2 pieces displayed: Embroidery, and A Helping Hand. Embroidery is illustrated in a collage with several other illustrations.
(Access: https://archive.org/details/1881AWS)
PDF: Fourteenth Annual Exhibition, 1881
“Francis Davis Millet.” In The National Cyclopaedia of American Biography XV. 201-202. New York: James T. White an Company, 1916.
The National Cyclopaedia of American biography gives a history of the United States by highlighting the lives of major figures who contributed to the U.S. including artists like Millet. The section on Millet begins with Millet’s family lineage, his Civil War service, and Harvard education. While in Boston he worked in newspaper and practiced lithography and portraiture. Millet then studied at the Royal Academy of Fine Arts in Antwerp and traveled extensively in Europe until 1876 when he returned to the U.S. He assisted John La Farge in decorating Trinity Church in Boston, showcasing his talent in mural painting and created a formula for painting in a wax medium. Millet also demonstrated his skill in stained glass design with the window he created for the Harvard Memorial Hall. Praised for his versatility, he contributed as a war correspondent during the Russo-Turkish war and ventured into literature with “Capillary Crime and Other Stories” (1892). Millet returned to England and spent time with artists like Sargent and Alma Tadema, exhibiting his work there and in the U.S. Appointed director of decoration at the World’s Columbian Exposition in Chicago in 1892, his murals earned acclaim, leading him to focus more on this genre. Notable works include the lunettes in the Liberal Arts Building and in the New York State Building and murals for the Baltimore Customs House, the New Bedford Public Library, the State Capitol at St. Paul, Minnesota, the courthouse at Newark, and the Federal Building at Cleveland. His portraits and English genre paintings, like Anthony Van Corlaer, the Trumpeter of New Amsterdam, Between Two Fires, At the Inn, Rook and Pigeon, The Black Hat, and Wandering Thoughts, highlight his style and color schemes. His influence on decorative art in America is evident, notably through his masterpiece the Baltimore Customs House murals. The section concludes with his numerous awards, memberships, and the positions he held in art academies.
“Francis Davis Millet. Dictionary of American Biography XII. Ed. Duman Malone. 644-646. New York: Charles Scribner’s Sons, 1933.
The Dictionary of American Biography has biographies of major American figures, including biographies on artists like Millet. Millet is mentioned in a footnote for the section on Januarius Aloysius MacGahan. Millet is mentioned as one of the founding members of the Kinsmen social club in the section on James Brander Matthews. Millet is mentioned as the friend who accompanied George Willoughby Maynard on a long journey through southeastern Europe in 1873. Maynard also completed a portrait of Millet while teaching drawing classes. Millet has a section dedicated to him as well that describes him as painter, author, and war correspondent. The section mentions his early education, his travels in Europe and in the Far East, and his later career and death on the Titanic. It mentions his writing and lists the various positions he held and awards he received in his lifetime. The works by Millet mentioned are a portrait that he painted of Mark Twain, murals for the Minnesota and Wisconsin capitols, a mural for the Baltimore Custom House, a mural for the Cleveland Trust Company.
French, Mrs. Daniel Chester. Memories of a Sculptor’s Wife. Boston and New York: Houghton Mifflin Company, 1928.
This collection of memories by an artist’s wife is really fascinating to read. Mrs. French gives many different anecdotes about being surrounded by different artists and the kind of life she lives traveling and meeting many different people. She is very candid through much of her writings, and when it comes to Frank Millet, she is a good source for personal references to his character. Millet is portrayed by Mrs. French as truly caring and lovable. She mentions several times that Millet was one of the most notable people to come across. There is also reference to his interactions with President Roosevelt and a brief mention of his involvement in the Chicago World’s Fair.
Gammell, R. H. Ives. The Boston Painters. 1900-1930. Orleans, Massachusetts: Parnassus Imprints, 1986.
The author discusses how Millet learned painting under Henry Leys and how Leys revitalized painting methods previously utilized by Jan Van Eyck. It also mentions how Millet is responsible for recommending Otto Grundmann as the leader of the painting program at his school. The book features a direct quote from Otto on the courses under Millet’s guiding; “During the time of Mr. Millet’s lectures on Greek costume they painted various studies from the draped figure. I also formed a selected class in composition. Subjects were given, which the students worked out bringing their drawings to be criticized.” The book illustrates these works by F.D. Millet; Seacoast and Grandpa’s Visit, 1885.
PDF: Gammell, R. H. Ives, The Boston Painters, 1986
Gerdts, William H. American Impressionism. New York: Abbeville Press, 1984.
Gerdts writes about the impact of Impressionism on American artists. Many of them went to France or across Europe to perfect the Impressionistic form. Millet is very briefly mentioned through a long description of Sargent’s work. His house in Broadway is discussed because of Sargent’s work Carnation, Lily, Lily, Rose and how that was a location for inspiration. Gerdts also mentions that Kate Millet was involved with being one of the models for Sargent’s painting. Though Millet is mentioned briefly, it still is a good source about his presence in Broadway and how it was impactful for many of his artist friends. There is no mention of Millets artwork.
PDF: Gerdts, William H., American Impressionism, 1984
Gilder, Rosamond, ed. Letters of Richard Watson Gilder. Boston and New York: Houghton Mifflin Company, 1916.
Richard Watson Gilder was an American poet, editor, and publicist. This book compiles Gilder’s correspondence with friends and colleagues, providing insight into his life and true personality. Frank D. Millet is mentioned briefly while discussing a “Free Art” consultation summons that had been sent to him by Gilder.
PDF: Gilder, Rosamond, ed., Letters of Richard Watson Gilder, 1916
The Guild of Boston Artists. The Easel Paintings of Francis Davis Millet. Boston: The Guild of Boston Artists, (1999).
This is the catalogue of an exhibition in 1999 by the Guild of Boston Artists. This exhibition was the first one of Millet’s works since his death in 1912.
PDF: The Guild of Boston Artists, The Easel Paintings of Francis Davis Millet, 1999
Harper’s Christmas. Pictures and Papers Done by the Tile Club and its Literary Friends. New York: Harper & Bros., 1882.
The article “The Importation of Works of Art” outlines F.D. Millet’s writing about a bill presented in the House of Representatives by Mr. Bellmont that works of art from the periodical should be placed on the free list. The paper assumes that Millet and many American artists agree with this bill (p. 99). F.D. Millet is also listed multiple times as an acting judge for Harper’s Weekly. Throughout the publication, Millet is listed as a Superintendent of the Art Department acting as a judge for the Harper & Brother’s art competition. The winner would show in Harper’s Magazine and would be awarded three thousand dollars.
Harvard University. The Fourth Triennial Report of the Secretary of the Class of 1869 of Harvard College. Boston, MA: Press of Rockwell and Churchill, 1881.
This report is a record of the class of 1869 of Harvard. It provides updates to the lives of the members of the class up to the point the report was written. It includes an update that Frank Davis Millet provided for the report on page 32. In his update, he states that he was the American representative juror in the department of Fine Arts at the Paris International Exhibition in 1878. He lists a few works he painted from 1878-1880. These works include Les Pacificateurs, which was exhibited in the French salon of 1879 and then stolen; A Bashi Bazouk, which was exhibited in the royal Academy and then at the Academy of Design in New York before it was sold to John Jacob Astor; and Baby Worship, which was a historical genre scene exhibited at the Academy of Design in New York, along with his portrait of Miss Kate Field.
Harvard University. Ninth Report of the Class of 1869 of Harvard College. Boston, MA: Alfred Mudge & Son, 1901.
This report is a record of the class of 1869 of Harvard. It provides updates to the lives of the members of the class from 1894 to 1901. It includes an update that Frank Davis Millet provided for the report on page 57. In his update, he states he worked for the London Times in 1898 as a special correspondent. The information provided in this update is mostly from his travels to Manila for this job. While traveling, he visited multiple countries like Japan, China, Malaysia, and India. In 1900, he worked on organizing and superintending the decorating and furnishing of the United States National Pavilion at the Paris Exposition. He writes that he finished three pictures for the spring exhibitions but does not list which pictures these are.
Harvard University. Report of the Secretary of the Class of 1869 of Harvard College. Boston, MA: Press of Rockwell and Churchill, 1894.
This report is a record of the class of 1869 of Harvard. It provides updates to the lives of the members of the class from 1887 to 1894. It includes an update that Frank Davis Millet provided for the report on page 58. This update includes the birth of his son, John Parsons Millet, on July 8, 1887. A large portion of his writing deals with his work as the director of decoration of the World’s Columbian Exposition in Chicago in 1892, and his work conducting the department of entertainments called The Functions. He explains that for the World’s Columbian Exposition in Chicago, he supervised all the decorative painting, mechanical painting, sculpture, and other details of construction.
Hastings, Thomas. A Book of Record Concerning Former Members of The American Academy of Arts and Letters. New York: American Academy of Arts and Letters, 1913.
This book is in memoriam of former members of The American Academy of Arts and Letters and contains names, records, and portraits of the former members. These include John LaFarge, Edwin Austin Abbey, and Francis Davis Millet. The record of Millet is a short biography discussing his professional career as an arts administrator, foreign war correspondent, and artist. His works of art mentioned include Portrait of Charles Francis Adams Jr., Portrait of Samuel Longhorn Clemens, Bashi Bazouk, The Window Seat, A Difficult Duet.
PDF: A Book of Record, American Academy of Arts and Letters
Hobbs, Susan A and Barbara Dayer Gallati. The Art of Thomas Wilmer Dewing: Beauty Reconfigured. Brooklyn: The Brooklyn Museum, 1996.
This book discusses the life and career of Thomas Wilmer Dewing. Dewing exhibited one of his works, Morning, at the National Academy of Design. It is mentioned that Millet traveled with Dewing to see this exhibition in New York. Millet was associated with Dewing as he was a fellow instructor at the Museum of Fine Arts.
Hook, Philip and Mark Poltimore. Popular 19th Century Painting: A Dictionary of European Genre Painters. Woodbridge, Suffolk: Antique Collectors Club, 1987.
This book is a compilation of popular 19th century subject matter in painting. The numerous genres help identify more of the unknown American paintings. Francis Davis Millet’s painting The Piping Times of Peace 1887 is shown among other related artworks by different artists under a theme of “Cavaliers.” This shows the high level of interest in the idea of showing a charming and romanticized history in art, of which Millet was a part.
PDF: Hook, Philip, and Mark Poltimore, Popular 19th Century Painting, 1987
Hopkinson, Francis, and Edward Strahan. A Book of the Tile Club. New York: Houghton Mifflin & Company, 1886.
This book is a collection of essays, poems, and illustrations that documents the activities and artistic endeavors of the Tile Club, a group of American artists and writers active during the late 19th century. This book highlights many artists who contributed to the club and illustrates the cultural and artistic movements of the time. The book provides insights into the history, philosophy, and creative output of the Tile Club and its members. There is no mention of Millet except for his name in the list of illustrations which show his work is on page nine. There are two sketches on page nine, but neither is labeled so it is unknown which is Millet’s.
PDF: Hook, Philip, and Mark Poltimore, Popular 19th Century Painting, 1987
Husby, Andrea. “Kate Field.” In Rave Reviews: American Art and Its Critics, 1826-1925, edited by David B. Dearinger, 230-232. New York: National Academy of Design, 2000.
This source gives some background on the relationship between Kate Field and Millet. It explains that Millet’s Portrait of Kate Field was an important artwork in his career. The source then explains different reviews of the Academy’s 1881 exhibition where this artwork was exhibited. The reviews vary with some of them being more positive than others. Reproduction of Portrait of Kate Field is included.
PDF: Husby, Andrea, Kate Field, Rave Reviews, 2000
Hutton, Laurence. Talks in a Library. New York: G. P. Putnam, 1905.
This book is about the life of Laurence Hutton and who he met and associated with. Each chapter discusses someone new that Hutton met and what artworks he associated with. The book talks about some of Millet’s life, such as when his son was born. Frank Millet is mentioned on several pages such as 98, 101, 102, 113, 277, and 331. The artwork mentioned by Millet is Portrait of Barrett.
Irish, Carol, and Amelia Peck. Candace Wheeler: The Art and Enterprise of American Design, 1875-1900. New York: The Metropolitan Museum of Art, 2000.
This source is about the life and work of Candace Wheeler, a prominent figure in late 19th-century American design. The author discusses Wheeler’s contributions to various aspects of design, including interior decoration, textiles, and furniture. She also explores projects that were being developed at the time such as the Veterans’ Room of the Seventh Regiment Armory beginning in 1879. Millet is mentioned to have created a pictorial frieze high on the walls in the Veterans’ Room.
PDF: Irish, Carol, and Amelia Peck, Candace Wheeler, 2000
Isham, Samuel. The History of American Painting. New York: The Macmillan Company, 1936.
This book provides a comprehensive history of American painting from Colonial times up to 1906. Isham discusses the rise of Munich as destination to study art, contrasting it with Antwerp which was favored by artists like Millet for its quieter atmosphere. Millet’s workmanship reflects Antwerp’s thorough art training and inclination for richer coloring and texture. Millet’s submission to the Academy of Design in 1876, as a younger artist, marked a departure from conservative art standards and the start of the New Movement. Later, Isham discusses London’s emergence as a haven for American artists, like Millet, seeking to depict old-fashioned life. Millet was known for his many skills and had a versatile career, traveling all over the world. Isham compares Millet’s work and painting style to Alma Tadema’s work. Millet’s affinity for painting genre scenes of seventeenth- and eighteenth-century England can be seen in his painting of Anthony Van Corlear – The Trumpeter of New Amsterdam. An illustration of Millets painting Between Two Fires is also included. Isham further analyzes Millet’s style and mentions his friendship with Abbey at Broadway. Lastly, Isham writes about Millet’s contributions to mural decoration, including assisting La Farge with the decoration of the Trinity Church in Boston, his role in the Columbian Exhibition of 1893 where he directed the decoration of the Manufactures and Liberal Arts Building, and the decoration he completed for the ceiling of the New York Building.
James, Henry. “Black and White.” In Picture and Text. New York: Harper and Brothers, 1893, 2-4.
Henry James wrote this article about the history of the Broadway artists, namely Frank Millet, Alfred Parsons, Edwin Abbey, Charles Reinhart, and others. The title “Black and White” is about how developments in printing technology made it possible for artists to illustrate in articles or newspapers a lot easier, and as such, made it possible for more artists to be seen. James goes through talking about each of the artists of Broadway and mentions some illustrations. However, none of them are done by Millet.
PDF: James, Henry, Black and White, In Picture and Text, 1893
Jarzombek, Nancy, et al. Boston Art Club: 1855-1950. Boston: Vose Galleries of Boston, 2000.Your Title Goes Here
This is a catalog from the Boston Art Club: 1855-1950 exhibition by the Vose Galleries of Boston, featuring a condensed article by Director of Exhibitions Nancy Jarzombek. Jarzombek lays out the history of the Boston Art Club, which was formed by a group of artists and friends. After the articles, illustrations are presented of many works from the exhibition, including an illustration of Millet’s Fisherman Gathering. The back of the book provides a brief yet thorough summary of F.D. Millet’s education and artistic career.
Johnson, Rossiter. A History of the World’s Columbian Exposition Held in Chicago in 1893. New York, 1897.
This book details all the different operations and events that occurred during the World’s Columbian Exposition. Frank D. Millet is mentioned on pages: 134, 146-148, 171, 177-178, 406-407, 474, 478-481. The book talks about his character as a person, and his ability to bring people together for a common goal. It also details his involvement as Director of Color when he was in charge of coloring of buildings inside and outside, the flags, banners, and woven-fabrics of ceremonies, and later was in charge of music, illumination and fireworks. Page 177 details Frank’s involvement of painting the two tympana in the west corner, along with figure subjects in the interior of the music hall and pendentive dome. Page 146 shows Frank Millet working with assistants working to paint one of the promenades. Pages 478-481 details Frank Millet becoming the Director of Function and his various responsibilities. Only one artwork is photographed in the book, and it is the Banquet Hall Mural for the New York State Building. The photo shows Frank working with assistants in creating the mural.
PDF: Johnson, Rossiter, A History of the World’s Columbian Exposition, 1897
Larkin, Oliver W. Art and Life in America. New York: Rinehart & Company, Inc., 1949
F.D. Millet is mentioned as being an inspiration to W.B. Closson with his “pastel quality of a figure.” Millet is credited as assisting with the decoration in the Henry H. Richardson Trinity Church of Massachusetts. He is mentioned in two other architectural spaces as contributing to the painting and decoration for the N.Y. State building in the Chicago Fair and painting the ceilings in the N.Y. State panel for the Chicago Exhibition.
Kammen, Michael. Mystic Chords of Memory: The Transformation of Tradition in American Culture. New York: Alfred A. Knoff, 1991.
In this book Kammen talks about Americans’ intrigue with the past and how many Americans look to the Colonial past for inspiration and tradition. For reference to Millet, it is a good source to understand his devotion to authenticity. Kammen talks about Millet’s house in East Bridgewater and how he modeled his kitchen after early American Colonial kitchens by using authentic materials. Kammen mentions Millet’s work At the Inn and how Millet wanted to get Colonial references correct, so he used his authentically renovated Colonial kitchen as a visual reference for the painting.
PDF: Kammen, Michael, Mystic Chords of Memory, 1991
Kenin, Richard. Return to Albion: Americans in England 1760-1940. New York: Holt, Rinehart and Winston, 1979.
This book discusses the journey of many notable expats trying to find their place going back to England. It is a good source for many artists, authors, and creative thinkers who had the romantic idea to go back to their roots but seemed somewhat unsatisfied to stay in England and went back to America for good. For reference to Millet, it is a good source for his life and time in Broadway. Kenin discusses Millet’s interest in renovating/refurbishing old buildings like his studio in Broadway. This love of nostalgia is noted by Kenin through Millet’s love of painting genre scenes. There is a photograph of Millet’s gardens at Russell house. The author describes what it was like in Broadway for Millet and his friends, painting between cricket matches, times full of laughter, and having a lovely hostess of the house, Lily. Kenin also mentions how Millet’s paintings were a bit romanticized like his contemporaries, portraying the aristocracy without any struggle, a life of beauty and ease. The author states that Millet is remembered as a good artist. Art mentioned and illustrated – Between Two Fires.
PDF: Kenin, Richard, Return to Albion, 1979
King, Pauline, American Mural Painting: A Study of the Important Decorations by Distinguished Artists in the United States. Boston, PA: Noyes, Platt & Company, 1902.
As the title suggests, this book is an overview of American mural painting and examines the most important works of decorative mural paintings. She looks at many mural painters throughout the book, including Francis Davis Millet. Of his works, King discusses his Thesmophoria. She writes that the painting was to accompany Blashfield’s tympanum in the Bank of Pittsburg. Of the other sources consulted on this specific work of art by Millet, King provides one of the more detailed description and analysis of Thesmophoria.
Kirkland, Edward Chase. Charles Francis Adams Jr. 1835-1915. The Patrician at Bay. Cambridge: Harvard University Press, 1965.
This book is about the life of American author, historian, and Union Pacific Railroad president, Charles Francis Adams Jr.. Kirkland takes the reader through various parts of Adams’ life, even quoting Adams’ diaries and memorabilia. It is mentioned that F.D. Millet was “one of his most intimate friends,” and Adams would often purchase art from him. Adams even had Millet paint Portrait of Mary Ogden Adams (Mrs. Charles Francis Jr.) and Portrait of Adams, as illustrated in the book.
PDF: Kenin, Richard, Return to Albion, 1979
Koch, Robert. Louis C. Tiffany. Rebel in Glass. New York: Crown Publishers, Inc., 1965.
This book provides a comprehensive exploration of the life and work of Louis Comfort Tiffany, a renowned American artist and designer known for his innovations in stained glass art. Koch delves into Tiffany’s background, artistic influences, and the development of his distinctive style. This book covers Tiffany’s contributions to various artistic mediums, including stained glass windows, lamps, and decorative objects, as well as his impact on the Arts and Crafts movement and American decorative arts more broadly. The primary focus of the biography is Louis Comfort Tiffany, the renowned artist, and designer. The Veterans’ room of the Seventh Regiment Armory is mentioned on page 15 explaining the glass that Mr. Tiffany used for the fireplace. Millet contributed to the Veteran’s room, though he is not mentioned directly on this page. On page 56, Frank Millet has a brief mention of working on stained-glass windows designed by Scribner, Tiffany, La Farge, Frances Lathrop, Edwin Blashfield, Elihu Vedder, Kenyon Cox, and Maitland Armstrong. Page 75 mentions Millet as being the director and coordinator of all painted decorations and Candance Wheeler had been appointed director of the Women’s building.
PDF: Koehler, S.R., The United States Art Directory, 1882-84
Koehler, S.R. The United States Art Directory and Year-book (Second Year). New York; London: Cassell, Petter, Galpin & Co, 1882-84.
Koehler’s directory gives a thorough account of the artists, art teachers, institutions, and exhibitions which were important in the United States in 1837-1900. The author provides information on relevant exhibitions, monuments, and architecture. They also provide specific information regarding total sales dollars at exhibitions and auctions, including cost breakdown per artist and their work. Included is a list of art institutions by state in which they are located, and an artist directory specifying which exhibitions and societies specific artists participated in. This book did not include images of artworks by Millet, but did provide information about his address, shows that he participated in, and cost of a sold painting.
W. M. Laffan, Engravings on Wood by Members of the American Wood-Engravers. Harper and Brothers, 1887.
This source includes a engraving of Millet’s Lacing the Sandal.
Lucas, E. V. Edwin Austin Abbey. Roval Academician: A Record of His Life and Work. 2 Vols. London: Methuen and Company Limited 1921.
This book is about Edwin Austin Abbey, his life, his works, and his accomplishments. A few of his friends and acquaintances are mentioned, such as Francis Millet. Lucas mentions millet in relation to the Arts Club in a quote from Alfred Parsons congratulating Abbey. Millet is mentioned once more as one of the jurors in Paris looking for works for the Americans abroad at the International Exhibition. No works were mentioned or listed.
PDF: Lucas, E. V., Edwin Austin Abbey, 1921, 1
PDF: Lucas, E. V., Edwin Austin Abbey, 1921, 2
Matthews, Brander. These Many Years. Recollections of a New Yorker. New York: Charles Scribner’s Sons, 1917.
This book by Brander Matthews recounts his years as a professor of Dramatic Literature in Columbia University as a member of the American Academy of Arts and Letters. Matthews writes about how he became acquainted in 1882 with Lawrence Barrett and Millet either through Abbey or Hutton. The four of them created an informal club called, The Kinsmen, made up of practitioners of the allied arts, writers, painters, actors, who dined together from time to time in New York and London. While the club did grow it also was short lived and in 1887 the American branch stopped meeting altogether. Matthews says the creation of club solidified his friendship with Millet who he writes about in high praise. He lists his accomplishments in the Civil War and his success as a writer, painter, and administrator. He further praises his lovable nature, and experience as a world traveler. Matthew ends quoting a quip that Millet made about being elected an associate of the Royal Academy of Art in London and being a member of the National Academy of Design in New York. Matthew lists two short stories written by Millet, Yatil and the Fourth Waits, but no works of art by Millet are mentioned.
McMann, Evelyn de R. Royal Canadian Academy of Arts/Academie royale des arts du Canada. Exhibitions and Members 1880-1979. Toronto: University of Toronto Press, 1981.
This book is a complete record of the 92 annual and 12 special exhibitions held by the Royal Canadian Academy of Arts from 1880-1979. Millet is listed on page 287 with his birthdate, birthplace, death date, and his address as of 1883 in New York. The work The Turkish Cafe is listed as being priced at $200.
PDF: McMann, Evelyn, Royal Canadian Academy, 1981
Mechlin, Leila. “A Decorator of Public Buildings.” Essay. In The World’s Work Volume XIX November, 1909, to April, 1910: A History of Our Time, 12379–86. New York, New York: New York Doubleday, Page and Company, 1910.
This source starts with the decorations in the Cleveland Trust Company building explaining the dimensions. It discusses what the piece is about (American History) and expresses his talent to vividly recall the pas, taking more than a year for him to complete the 13 panels. It mentions Millet’s positions/memberships in different organizations, his past time in the army, his graduation, and gives a quick life overview. It lists some medals/crosses that he received in war and mentions a book that he wrote called, The Danube from the Black Forest to the Sea. It mentions his position at the Chicago World’s Fair. It goes on to tell of Millet’s travels to Japan and more awards that he was given for his work. It lists where his work is shown. It highlights his government building work The Treaty of the Traverse des Sioux and The Entry of the Fourth Minnesota regiment into Vicksburg and goes over a couple more government building murals and the accuracy of each of his pieces. It mentions the seven medals that he executed for the US army and gives an overview of Millet’s personality and the energy stamina he has as an artist.
PDF: Mechlin, Leila, A Decorator of Public Buildings, 1910
Millet, Francis Davis. Catalogue of Sale of Studio Properties, Antique Furniture, and Effects at Abbot’s Grange, Broadway, Worcs. Broadway. G.H. Bayley & Sons, 1912. Sale 6-7 November 1912.
This sale catalogue is potentially available through Gloucestershire Heritage Hub. It is only available to access in person.
Millet, Francis Davis. “Fine Arts of the Present Time.” In Massachusetts Commission to the Vienna Exposition. Reports of the Massachusetts Commissioners to the Exposition at Vienna. 1873.
This is a special report of F. D. Millett that gives his viewpoints on the fine arts of the present time and discusses the general state of the arts at the end of the 19th century. Millett’s report has a vital role due to its additional value to general acceptance of the artistic landscape in that period.
Millet, Francis Davis. “Progressive Changes in Costumes and Customs.” In Gately’s World’s Progress. Charles E. Beale, ed. Boston: M. R. Gately, 1887.
This article was written by Frank D. Millet. It is all about how the costumes of different nations have progressively changed from the earliest historic times to the time of the writing of this article. These changes, he notes, had not taken place all over the world. Nations such as China, Japan, India and others like it still wore cumbersome dress that seemed to have changed little from the past except in parts where European dress was adopted. The article is full of drawings. Some of them are signed by F.D. Millet, some are signed by other artists, and some are unsigned.
PDF: Millet, Francis Davis, Progressive Changes, 1887
THESES AND DISSERTATIONS
Bienenstock, Jennifer A. Martin. “The Formation and Early Years of the Society of American Artists: 1877-1884.” Ph.D. diss., City University of New York, 1983.
PDF: Bienenstock, Jennifer A. Martin, The Formation and Early Years, 1983
Broun, Elizabeth. “American Paintings and Sculpture in the Fine Arts Building of the World’s Columbian Exposition, Chicago, 1893.” PhD diss., Graduate School of The University of Kansas, 1976.
Broun explores American art at the Chicago World’s Fair and provides lists of works exhibited, as well as select illustrations of these works. She also provides insight into the creation and development of the fair, listing Millet as one of its founders. While Jean-François Millet is explored extensively, mention of Francis Davis Millet is still found within the source – including a list of his works displayed at the exhibition. The works listed include Anthony Van Corlaer, The Trumpeter; Old Harmonies; Sweet Melodies; Rook and Pigeon; A Difficult Duet; At the Inn; Lacing the Sandal; and The Window Seat. Portrait of F.D. Millet by George W. Maynard was also exhibited at the Chicago World’s Fair. Broun cites two of Millet’s publications in her bibliography: Some Artists at the Fair and The Decoration of the Exhibition.
PDF: Broun, Elizabeth, American Paintings and Sculpture, 1976
Butler, Eliza Adams. “The Civic Art of Frances Davis Millet.” Ph.D. Diss. Columbia University, 2017.
This dissertation investigates Millet’s civic engagement and the intersections between art and society during Millet’s era. Millet’s paintings that are illustrated and included in this dissertation are as follows: Mail Delivery, India, Rural Delivery, Broadway, England, Balloon Post, Louis Comfort Tiffany & Associated Artists, Seventh Regiment Armory. Millet and George Yewell’s frieze on the north wall of the Veteran’s Room showcases their collaborative effort in creating public art installations, further highlighting Millet’s involvement in civic art projects. Other artworks by Millet mentioned in this dissertation are as follows: A Cosey Corner, Turkish Women at Sistova, Moldavian Peasants-A Windy Day in the Delta, Albanian Male Costume, View from the Gloriette, Dining at the Guingettes, Turkish Water Seller. Millet’s Mural Decorations: Murals in the Call Room, including depictions of various ships and vessels, demonstrate Millet’s artistic vision and engagement in large-scale mural projects, contributing to the embellishment of public spaces.
PDF: Butler, Eliza Adams, The Civic Art of Francis Davis Millet, 2017
JOURNAL ARTICLES
“The Abbot’s Grange, and Russell House, Broadway, Worchestershire, The Residence of Mr. F.D. Millet,” Country Life 29 (January 14, 1911): 54-61.
A variety of American artists who painted subjects from locations such as North Africa, Asia Minor and various Turkish regions are featured in this book. The two paintings illustrated and described by Frank Millet are The Turkish Water Seller, 1874, and The Turkish Soldier, 1878. While this book gives a nice overview of Millet’s life, including his birth, education, training, newspaper work, marriage, etc., emphasis is placed on the times in his life where he had “oriental” encounters. More detail is provided about his time in the war, his time with his Greek man servant, Paolo, as well as his travels down the Danube River. Ackerman mentions the painting Millet was working on for an exhibition at the Brussels Salon, Sailing on the Bay of Naples, which was later completed in 1874.
“The Academy Exhibitions.” The Art Amateur 22, no. 6 (1890): 113.
This article explains the spring exhibition done by The National Academy of Design and variety of works displayed. Millet’s Anthony Van Corlear, Trumpeter is highly praised within this article, and there is a brief detailing of the piece. There is not much information on Millet, but it does inform the reader of where this work was exhibited and what the public thought of it. An examination of the other works shown at the exhibit are also mentioned.
(Access: http://www.jstor.org/stable/25629095)
American Art Review XI, no. 2 (March-April 1999), 124.
The article addresses Millet and his life up until 1884. It explores his friendships, marriage, children, and his interest in the arts. The painting Flemish Kitchen is featured in color.
PDF: American Art Review, pg 124, 1999
American Art Review 19, no. 5 (Sept-Oct. 2007), 28.
This brief article mentions where Millet’s works can be found as of the printing of the article, and it features a color reproduction of A Broadway Milkmaid.
PDF: American Art Review, pg 28, 2007
NEWSPAPER ARTICLES
“The Academy Exhibition.” Boston Evening Transcript, March 21, 1881.
A variety of American artists who painted subjects from locations such as North Africa, Asia Minor and various Turkish regions are featured in this book. The two paintings illustrated and described by Frank Millet are The Turkish Water Seller, 1874, and The Turkish Soldier, 1878. While this book gives a nice overview of Millet’s life, including his birth, education, training, newspaper work, marriage, etc., emphasis is placed on the times in his life where he had “oriental” encounters. More detail is provided about his time in the war, his time with his Greek man servant, Paolo, as well as his travels down the Danube River. Ackerman mentions the painting Millet was working on for an exhibition at the Brussels Salon, Sailing on the Bay of Naples, which was later completed in 1874.
“The Academy Exhibition.” New York Times, March 20, 1881, 2.
This text provides an account of the Academy Exhibition, detailing the sparse attendance at the private viewing. It offers critiques of various artworks displayed, including those by F.D. Millet. The review states, Millet’s painting of a fine lady exhibits precision and vivacity in its execution, it is described as lacking character, loveliness, and grace, ultimately being deemed as somewhat empty.
PDF: The Academy Exhibition, New York Times, 1881
“The Academy of Design.” New York Tribune, April 5, 1884, 5.
Millet is mentioned along with an unnamed painting described as a “young lady in creamy white Robes.” A description of Regina Convivii or Queen of the Feast is mentioned later on, and it is possibly the painting referenced earlier in the article; however, the description is vague and as it is unnamed in the article. It is unclear which of Millet’s paintings it is specifically referring to.
PDF: The Academy of Design, New York Tribune, April 1884
“Academy of Design. Fifty-First Annual Exhibition. Fifth Notice.” New York Tribune, May 6, 1876.
This article is a critique of several artists’ artworks which were shown in the Academy of Design exhibition. The author provided brief descriptions of the paintings they were referring to but spent much of the article providing their personal opinions on the artists’ stylistic choices. Millet is mentioned briefly and is given a short critique of his work. However, the article does not mention which artworks they are referring to. Another source would be more helpful in obtaining details about these artworks, as this was an opinion column.
PDF: Academy of Design, Fifty-First Annual Exhibition, New York Tribune, 1876
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