His paintings had the simplest stories with seldom more than two or three figures in them. It was said that he needed only a field and a peasant to make a great picture. When he painted the "Man with the Hoe," he did it so truthfully, in a way to make the story so well understood by all who looked upon it, that he was called a socialist. No one was so much surprised as Millet by that name. "I never dreamed of being a leader in any cause," he said. "I am a peasant--only a peasant." Of his picture "The Reaper" a critic wrote, "He might have reaped the whole earth." All his pictures were sermons, he called them "epics of the fields." He pretended to nothing except to present things just as they were, as he writes in a letter to a friend about "The Water Carrier:" In the woman coming from drawing water I have endeavoured that she shall be neither a water-carrier nor a servant, but the woman who has just drawn water for the house, the water for her husband's and her children's soup; that she shall seem to be carrying neither more nor less than the weight of the full buckets; that beneath the sort of grimace which is natural on account of the strain on her arms, and the blinking of her eyes caused by the light, one may see a look of rustic kindliness on her face. I have always shunned with a kind of horror everything approaching the sentimental. I have desired on the other hand, that this woman should perform simply and good-naturedly, without regarding it as irksome, an act which, like her other household duties, is one she is accustomed to perform every day of her life. Also I wanted to make people imagine the freshness of the fountain, and that its antiquated appearance should make it clear that many before her had come to draw water from it. At forty he was in about the same condition as he had been on that evening ten or twelve years before, when he had entered Barbizon carrying his two little daughters upon his shoulders, his wife following with the servant and a basket of food, to settle themselves down to hardship made sweet by kind comradeship and hope. Now a change came. Millet painted "The Angelus." He was dreadfully poor at that time and sold the picture cheaply, but it laid the foundation of his fame and fortune. He had worked upon the canvas till he said he could hear the sound of the bell. Although its first purchaser paid very little for it, it has since been sold for one hundred and fifty thousand dollars.