Editing Jean-François Millet (section)

==Legacy==
[[Image:Jean-François Millet - The Potato Harvest - Walters 37115.jpg|right|thumb|''[[The Potato Harvest (painting)|The Potato Harvest]]'' (1855).<ref>{{cite web |publisher= [[The Walters Art Museum]]
 |url= http://art.thewalters.org/detail/22652
 |title= The Potato Harvest}}</ref> The Walters Art Museum.]]
Millet was an important source of inspiration for [[Vincent van Gogh]], particularly during his early period. Millet and his work are mentioned many times in Vincent's letters to his brother Theo. Millet's late landscapes served as influential points of reference to [[Claude Monet]]'s paintings of the coast of [[Normandy]]; his structural and symbolic content influenced [[Georges Seurat]] as well.<ref>Champa, p. 184.</ref>

Millet is the main protagonist of [[Mark Twain]]'s play ''[[Is He Dead?]]'' (1898), in which he is depicted as a struggling young artist who fakes his death to score fame and fortune. Most of the details about Millet in the play are fictional.

Millet's painting ''[[L'homme à la houe]]'' inspired the famous poem "[[The Man With the Hoe]]" (1898) by [[Edwin Markham]]. His paintings also served as the inspiration for American poet David Middleton's collection ''The Habitual Peacefulness of Gruchy: Poems After Pictures by Jean-François Millet'' (2005).<ref>Tadie, ''Poetry and Peace'', Modern Age (2009, Vol. 51:3)</ref>

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.<ref>Néret, 2000</ref> However, it is unclear whether Millet changed his mind on the meaning of the painting, or even if the shape actually is a coffin.