Commissioned by a wealthy American, Thomas G. Appleton, and completed during the summer of 1857, Millet added a steeple and changed the initial title of the work, Prayer for the Potato Crop to The Angelus when the purchaser failed to take possession in 1859. Displayed to the public for the first time in 1865, the painting changed hands several times, increasing only modestly in value, since some considered the artist's political sympathies suspect. Upon Millet's death a decade later, a bidding war between the US and France ensued, ending some years later with a price tag of 800,000 gold francs.
The disparity between the apparent value of the painting and the poor estate of Millet's surviving family was a major impetus in the invention of the droit de suit intended to compensate artists or their heirs when works are resold.
The Angelus was reproduced frequently in the 19th and 20th centuries. Salvador Dalí was fascinated by this work, and wrote an analysis of it, The Tragic Myth of The Angelus of Millet. Rather than seeing it as a work of spiritual peace, Dalí believed it held messages of repressed sexual aggression. Dalí was also of the opinion that the two figures were praying over their buried child, rather than to the Angelus. Dalí was so insistent on this fact that eventually an X-ray was done of the canvas, confirming his suspicions: the painting contains a painted-over geometric shape strikingly similar to a coffin. (Néret, 2000) However, it is unclear whether Millet changed his mind on the meaning of the painting, or even if the shape actually is a coffin.
Λίγα λόγια για τον Millet