161 Sentences With "gleaners" | Random Sentence Generator

And yet the information-gleaners, like info-gleaners everywhere, cannot bring themselves to stop.

Two dozen gleaners—not to be confused with foragers or dumpster divers—showed up for the second annual International Gleaners Symposium, held recently at the Georgia Institute of Technology, in Atlanta.

Set against the waste, gleaners' efforts seem a drop in the ocean.

Just look at her late-career masterpiece, The Gleaners and I (2000).

Salt & Straw's founder, Tyler Malek, is now on the board at Urban Gleaners.

With that in mind, Urban Gleaners and Salt & Straw decided to join forces.

The gleaners sat in a classroom, drinking coffee and eating store-bought grapes.

Separately, IFC Center will show "The Gleaners & I" (Tuesday), one of Ms. Varda's most popular films, in which she draws a parallel between herself, as a maker of documentaries, and the "gleaners" seen in a classic Jean-François Millet painting.

In the 2000 film Les Glaneurs et la Glaneuse (The Gleaners and I), Varda wanders France to film gleaners—people who harvest in the fields, but also people who recover the scraps and detritus of other people's lives to create new things.

In effect, this time, the 2120-103 gleaners who arrive are harvesters rather than clearers-up.

Again, gleaners need to break into the world of big producers who care less about waste.

Next, the group parsed a bit of legalese regarding the protections afforded the hosts of gleaners.

The gleaners of literature were imagined carefree, singing as they worked and weaving cornflowers through their hair.

AT THE SALON in Paris in 1203, Jean-François Millet exhibited a painting called "Des glaneuses" ("Gleaners").

In Varda's later films, starting with "The Gleaners and I" (2000), she frequently turned the camera on herself.

Cutting waste is the gleaners' first motivation, but poverty comes a close second: other people's, rather than their own.

On a balmy October day the Sussex gleaners have assembled again, this time at the orchard in Stanmer Park.

In The Gleaners and I, she gleans the heart-shaped ones while others scrounge for the regular, abandoned ones.

Urban Gleaners itself provided a surprising amount of bread, which was then morphed into the PDX branch's toasted baguette PB&J.

Farmer psychology can be difficult, and some feel ashamed to call in gleaners, as if it is an admission of failure.

Varda would go on to revisit her film and the people in it in The Gleaners and I: Two Years Later (2002).

The Bible has this idea of gleaners, where you're supposed to harvest your field once and let people glean off of it.

The most delicious part: A sizable portion of the profits will be donated to Urban Gleaners to benefit its programs combating child hunger.

One grower of blackcurrants in Sussex, whose fields are regularly visited by gleaners, reckons that machines get only 60-80% of his crop.

Agnès Varda's film "The Gleaners and I" (2000) documents the stripping of a whole unharvested vineyard before birds, or wild boar, move in.

Calls for gleaners now target the young and fit from a wide area, but there are exceptions where local, neighbourly help is paramount.

"The Bible has this idea of 'gleaners,' where you're supposed to harvest your field once and let people glean off of it," he said.

Her 2000 documentary The Gleaners and I is widely considered one of the best documentaries of all time, and earned a spot on many critics' lists.

Millet's gleaners were engaged in a task reserved for paupers by the local commune; in the background, the regular harvest is being stacked up in abundance.

His latest show, "Harvest" at Petzel Gallery, takes its theme from one of Jean-François Millet's paintings of gleaners in a field — talk about detail work.

Bocanegra creates another romantic agricultural idyll for urban audiences by fashioning outlandish costumes, inspired by Jean-François Millet's "Gleaners" and the works of Jan Brueghel the Elder.

In order to source that waste, Salt & Straw has partnered with Urban Gleaners, a nonprofit that collects and redistributes edible, excess food from food producers, grocers, and restaurants.

The gleaners she finds elsewhere are often lone scavengers, mostly the very poor, who are as likely to root through supermarket bins as to wander hopefully through fields.

They include Agnès Varda's essay film "The Gleaners and I" (on Friday and Monday) and Hiroshi Teshigahara's mysterious "Woman in the Dunes," which Reichardt will introduce on Sunday.

During the making of Gleaners (2001), while examining the potatoes marked too deformed to sell, the director kept three heart-shaped spuds and watched them age, sprout, and shrivel.

In America the Society of St Andrew, the oldest and biggest gleaning operation, draws 40,000 gleaners mostly from churches, synagogues and other faiths (including Islam), making the biblical basis explicit.

A documentary about foraging — in life, in art — "The Gleaners and I" became Varda's best-known movie, and it brought her new audiences and ushered in a final, excitingly productive period.

This painting, like "A Studio in Les Batignolles" (1870) or "The Reading" (1877), makes use of the realistic but dusty grays of Jean-François Millet, as in his " The Gleaners" (183).

The gleaners are dressed for work in jeans and walking boots, but need instruction on how to handle the small, sharp knives with which they will trim the stalks in the field.

Her films focused on the issues faced by ordinary people, such as harvesters (The Gleaners and I, 2000), drifters (Vagabond, 1985) and on women in particular (Cleo from 5 to 7, 1962).

"The Gleaners and I," a 2000 documentary in which she used the themes of collecting, harvesting and recycling to reflect on her own work, is considered by some to be her masterpiece.

A sketch compared to The Gleaners and I (2000) and The Beaches of Agnès (2008), Faces Places is a palatable, easily digestible film that is as ephemeral as the murals showcased in it.

In 1986, she showed one of my shorts, "Ulysse," and later in 2001, "The Gleaners and I," with a special deal: If the numbers were O.K., the film would stay, and it screened 17 weeks!

What makes "The Gleaners and I" and her last feature, "Faces Places" (co-directed with the artist J.R.) so moving is that they create a bond between director and viewer that feels very much like friendship.

" Richard Peña, who as director of the New York Film Festival helped introduce "Gleaners" to an American audience, praised that film and Ms. Varda's "The Beaches of Agnès" (2008) as "touchstones for a new generation of nonfiction filmmakers.

The second begins in 2000, with "The Gleaners and I," the first of a series of personal, cerebral, altogether uncategorizable projects (encompassing still photography and multimedia installations as well as cinema) in which she turns the camera on herself.

In Henry Mayhew's exhaustive, wonderful chronicle of the Victorian urban underclass, "London Labour and the London Poor" (1851), his equivalent of rural gleaners are the river-dredgers who, when coal is accidentally dropped from a collier-brig, fish down to find it.

Ms. Varda was then relatively inactive until 1999, when, armed for the first time with a digital camera, she set about making "Les Glaneurs et la Glaneuse" ("The Gleaners and I"), which resurrected an artistic career now well accustomed to underrappreciation and resuscitation.

Another, "The Gleaners", recorded the lives of the poor or frugal who picked up wasted food from thrown-out pallets or the ground, her hand-held camera bending with them to see what they found, rejoicing especially in a potato shaped like a heart.

You see the touch of Varda's camera in the sublime "Jacquot de Nantes" when she closely pans over the mottled, wrinkled face of her dying husband (Demy died soon afterward in 1990), a tender cinematic caress that finds a corollary in the blunt image of her own mottled, wrinkled hand in "The Gleaners and I." In each, she faces mortality directly as a concrete fact.

The film tracks a series of gleaners as they hunt for food, knicknacks, thrown away items, and personal connection. Varda travels the French countryside as well as the city to find and film not only field gleaners, but also urban gleaners and those connected to gleaners, including a wealthy restaurant owner whose ancestors were gleaners. The film spends time capturing the many aspects of gleaning and the many people who glean to survive. One such person is the teacher named Alain, an urban gleaner with a master's degree who teaches French to immigrants.

The Gleaners Food Bank is currently studying the feasibility of building a greenway along the abandoned rail corridor just east of Beaufait from the Detroit River to Gratiot Avenue. This greenway would connect the Detroit River Walk, Capuchin Soup Kitchen/Earthworks, and the Gleaners Food Bank. This project has also been called the Gleaners Greenway and Beaufait Greenway.

Gleaners, Inc., also known as The Volunteers Of Gleaners, is a Jackson, MS based non-profit organization founded by Gloria Martinson in 1986 (not to be confused with the Gleaners Food Bank in Indiana, a non-profit organization which helps feed families struggling with hunger and food insecurity in central and southeast Indiana, or Gleaners in Michigan). It salvages food that otherwise would go to waste and redistributes it to other non-profit shelters in the metro area. Claude Mapp is the current CEO and Nancy Willis is the Director of Operations.

Studies have shown that as resources in the aerial environment increase, the flock will possess more sallies than gleaners. This has been shown to occur during forest fires in which insects have been flushed from vegetation, however this can also be done by the gleaners. When gleaners obtain meals from vegetation it causes the other prey within the vegetation to be flushed out into the aerial environment. It is through this specific behaviour of feeding among vegetation that the gleaners indirectly increase the foraging rate of the sallies.

Gleaners has been in operation since 1986, Martinson started the organization from her kitchen.Fabvienen Taylor, "The Gleaners keeps food moving" , Mississippi Catholic, July 25, 2008 The amount of food collected and distributed has increased through 2015, with food intake and outgo nearing one million pounds. The cost per pound of food collected and distributed is about ten cents pound. Gleaners had about sixty volunteers.

The Gleaners (Léon Augustin Lhermitte, 1898) Gleaning was a popular subject in art, especially in the nineteenth century. Gleaning in rural France has been represented in the paintings Des Glaneuses (1857) by Jean-François Millet and Le rappel des glaneuses (1859) by Jules Breton (image), and explored in a 2000 documentary/experimental film, The Gleaners and I, by Agnès Varda.Callenbach, Ernest. "The Gleaners and I (Les Glaneurs Et La Glaneuse)".

Garden is designed and developed in backyard for Gleaners Community Kitchen use. Gardening program is launched as is "Red Wagon Food Pantry" - both to benefit Gleaners Kitchen. 2012 - Chapel is named, by Vestry vote, "All Saints Chapel." 2013 - 2014 St. John's Bicentennial (1814 - 2014).

The Gleaners and I was first screened out of competition at the 2000 Cannes Film Festival ("Official Selection 2000"). The same year it had its North American premiere at the Toronto International Film Festival.Portuges, Catherine. "The Gleaners and I." American Historical Review 106.1 2001. 305. Web.

By 1979 this had declined to 47,000 members.Schmidt p.142 The Gleaners had 43,000 members in 1994.

The Gleaner Life Insurance Society, originally the Ancient Order of Gleaners, is a fraternal benefit society based in Adrian, Michigan.

The Gleaners and I went on to earn awards around the world including top honors at the Chicago International Film Festival, Boston Society of Film Critics Awards, the European Film Awards, the French Syndicate of Cinema Critics, the Los Angeles Film Critics Association Awards, the National Society of Film Critics Awards (USA), the New York Film Critics Circle Awards, Online Film Critics Society Awards and the Prague One World Film Festival ("The Gleaners & I"). In addition to its festival honors, The Gleaners and I was “declared the best French film of 2000 by the French Union of Film Critics, which broke with tradition by not choosing a dramatic film.”Rich, B. Ruby. "Gleaners Over Gladiators." The Nation 272.14 (2001): 33. Print.

The dark homespun dresses of the gleaners cut robust forms against the golden field, giving each woman a noble, monumental strength.

Musée d'Orsay, Paris. Millet extended the idea from landscape to figures -- peasant figures, scenes of peasant life, and work in the fields. In The Gleaners (1857), for example, Millet portrays three peasant women working at the harvest. Gleaners are poor people who are permitted to gather the remains after the owners of the field complete the main harvest.

The Gleaners and I (; "The gleaners and the female gleaner", a reference to the director herself) is a 2000 French documentary film by Agnès Varda that features various kinds of gleaning. It was entered into competition at the 2000 Cannes Film Festival ("Official Selection 2000"), and later went on to win awards around the world. In a 2014 Sight & Sound poll, film critics voted The Gleaners and I the eighth best documentary film of all time. In 2016, the film appeared at No. 99 on BBC's list of the 100 greatest films of the 21st century.

The Gleaners, 1857. Musée d'Orsay, Paris. This is one of the most well known of Millet's paintings, The Gleaners (1857). While Millet was walking the fields around Barbizon, one theme returned to his pencil and brush for seven years—gleaning—the centuries- old right of poor women and children to remove the bits of grain left in the fields following the harvest.

Going Green: True Tales from Gleaners, Scavengers, and Dumpster Divers Editor, contributor. University of Oklahoma Press. 2009. Great Colorado Bear Stories Riverbend Publishing. 2012.

Gleaners was distributed by Zeitgeist Films in New York, a company that has distributed films from such directors as Christopher Nolan and the Brothers Quay.

Walsh College assists the community in ongoing volunteer efforts: Blackwell Institute in Detroit, Capuchin Soup Kitchen, Focus: HOPE, Gleaners, U.S. Marines, and Vets Returning Home, Inc.

The Thin Blue Line (49 votes) 6. Chronique d'un été (32 votes) 7. Nanook of the North (31 votes) 8. The Gleaners and I (27 votes) 9.

The Ancient Order of Gleaners was formed in 1894 in Caro, Michigan by Grant Slocum. Articles of incorporation were drawn up by attorney Walter Gamble and submitted to the Michigan Insurance Commissioner on September 2, 1894 and a charter was granted September 25. The Gleaners were the first fraternal society incorporated under Act 119, a law regulating insurance passed by the Michigan legislature that year. At the time the group had 220 members.

The Gleaners is a debut studio album by American jazz bassist Larry Grenadier. The record was released by ECM on February 22, 2019, on CD, vinyl, and as a digital download.

Gloria Martinson (born May 27, 1929, in the United States) is the founder of Gleaners in Jackson, MississippiLocation of Gleaners on Google MapsHoward Ballou, "The Gleaners Making A Difference" MS News, February 4, 2007 Gloria Lorraine Martinson is the widow of Mike Martinson, founder, and CEO of the Dobbs Maynard Advertising Agency, who was often referred to as "The King Maker" due to his strong political influence and clout. The Martinson's parents migrated to the US through Ellis Island from Oslo, Norway. Her sister-in-law is State Representative Rita Martinson (Madison, Mississippi) and her brother-in-law, Billy Martinson, is the founder of Green Oak Nursery in Jackson, Mississippi. She is the grandmother of the television actress Lauren Jones.

The Gleaners Léon- Augustin Lhermitte's The Gleaners (1887, Philadelphia Museum of Art). A part of the Realism movement and an avid realist painter, Lhermitte depicts the working class poverty in France. Taking very obvious inspiration from Millet, a painting of the same name, Lhermitte in a series of works displayed at the Salon aims to capture this moment in time. When comparing his work to Millet's, even the poses of the women are very similar if not the same.

This led Lhermitte to continue painting scenes of rural France, many of which share the same name, "The Gleaners". Looking closely at the individual gleaners, they are each given some individual "character". Rather than having plain smooth looking clothes like in Millet's painting, Lhermitte opted for looser fitting shirts and added more detail to the faces of the women. The second woman reaching down has a pained expression on her face, showing the effort of reaching down all day.

In the past, Starbase Indy charities have included Cats Haven, Lungevity, The Jason Foundation , Toys for Tots, Precious Paws, and Camp Awareness. In 2010 the charities were Cats Haven and Gleaners Food Bank of Indiana.

Millet's The Gleaners was preceded by a vertical painting of the image in 1854 and an etching in 1855. Millet unveiled The Gleaners at the Salon in 1857. It immediately drew negative criticism from the middle and upper classes, who viewed the topic with suspicion: one art critic, speaking for other Parisians, perceived in it an alarming intimation of "the scaffolds of 1793." Having recently come out of the French Revolution of 1848, these prosperous classes saw the painting as glorifying the lower-class worker.

During the Revolutions of 1848 artists gathered at Barbizon to follow Constable's ideas, making nature the subject of their paintings. The French landscape became a major theme of the Barbizon painters.Metropolitan Museum of Art timeline The Gleaners. Jean-François Millet. 1857.

Gleaners is an all-volunteer, nonprofit agency overseen by a board of directors. They have a fleet of seven trucks for collecting food from donors, and operate from a building equipped with a walk- in refrigerator and freezer, tables for re-packaging of donated food, and sinks for cleaning of equipment. With total expenses less than $60,000 per year, they receive no government funding, and all operating expenses for vehicles, food packaging, utilities, fuel and insurance come from private individuals, foundations, churches, and non-governmental grants. Some 60 volunteers serve Gleaners each year, driving the trucks and preparing food for distribution.

" AllMusic's Thom Jurek commented, "While solo double bass records are usually meant for a very specific group of listeners, The Gleaners proves an exception. It is so sensitive, creative, and stylistically diverse that it presents perhaps the first real opportunity for such a recording to engage an audience beyond the standard confines of aficionados and other musicians. The Gleaners is an inner exploration articulated with uncommon generosity, disciplined artistry, and a poet's gift for illumination." Michael Toland of Blurt wrote that the album is, "A master class in the balance of musical mood settings and technical wizardry.

There were three categories of membership - Junior, Beneficiary and Cooperative. Cooperative members joined the organization, but without insurance benefits. Juniors were insured from birth to age fifteen and became Beneficiary members after they turned twenty one.Schmidt p.142 In 1969 the Gleaners had 55,000 members.

Ruby Rich believes that the appeal of The Gleaners and I "is due in considerable part to Agnès Varda’s own presence."Rich, B. Ruby. "Gleaners Over Gladiators." The Nation 272.14 (2001): 33. Haden Guest argues that the ease with which Varda blends documentary and narrative technique is a key reason that her films continue to be so relevant, especially “as we witness a resurgence of documentary and a particularly strong interest in hybridized modes of fiction/nonfiction cinema” (48). Jake Wilson, on the other hand, conjectures that Varda (while perhaps not fully realizing it) tapped into the cultural zeitgeist and constructed a film that “embodies a quasi-anarchist ethos” that is built on a “resistance to consumerism, a suspicion of authority, and a desire to reconnect politics with everyday life.” Varda's The Gleaners and I is notable in another regard, as well. In a film about gleaning, Varda recognizes that she is a gleaner. “I'm not poor, I have enough to eat,” says Varda, but she points to “another kind of gleaning, which is artistic gleaning.

The Gleaners worked on a two tier organizational modal - local lodges, known as "Arbors". Each Arbor had a set of officers - Chief Gleaner, Vice-Chief Gleaner, Secretary, Treasurer Chaplain, Conductor, Conductress Lecturer and Guard. The last five officers had ritual duties. There were 98 active Arbors in 1979.

Arthur Hughes. In many parts of Europe, including England and France, the Biblically-derived right to glean the fields was reserved for the poor; a right, enforceable by law, that continued in parts of Europe into modern times.Vardi, Liana. "Construing the Harvest: Gleaners, Farmers, and Officials in Early Modern France".

Nectarivores, like gleaners, will frequently employ hovering during foraging. Hovering nectarivores are more likely to have rounded wingtips, which aids in maneuverability. Nectarivores that land on the flower before feeding have worse maneuverability. Nectarivores in general have lower aspect ratios, which makes them more suited to flight in a cluttered environment.

When the steam-driven mill was installed in 1910, the mill concentrated on offals; this consisted of split beans, split maize, kibbled wheat (lightly rolled for chickens) and barley meal. Gleaners from the fields took their grist at harvest to the mill to make barley meal for their home-fed pig.

Murphy, p. xx. In 1867, the Exposition Universelle hosted a major showing of his work, with the Gleaners, Angelus, and Potato Planters among the paintings exhibited. The following year, Frédéric Hartmann commissioned Four Seasons for 25,000 francs, and Millet was named Chevalier de la Légion d'Honneur. In 1870, Millet was elected to the Salon jury.

Born Lillian Gerard, she changed her name to Nellise Child in an homage to her mother (i.e. "Nelly's child"). Child published eight novels, including Murder Comes Home (1933), The Diamond Ransom Murders (1935), Wolf on the Fold (1941), and If I Come Home (1944). She also wrote plays, including Sister Oakes and After the Gleaners.

The next three panels spell out the names or initials of either the churchwardens at the time, or a pair of benefactors. The panel on the right bears a chequer pattern. Above the last panel is a gleaners' bell. The Perpendicular three-light east window was moved from the original chancel when it was demolished.

In The Gleaners and I, Varda films herself combing her newly discovered gray hair, and there are many visuals of her aging hands. In one scene, she "catches" trucks on the freeway, forming a circle with her hand in front of the camera framing the truck in the center, then closing her hand as she drives past them.

On 15 December 1793, Landseer married Jane Potts, who he had met at the house of his employer, Thomas Macklin. She moved in artistic circles, and had modelled for a reaper in The Gleaners, painted for Macklin by Sir Joshua Reynolds .Manson (1902), p.12 They had fourteen children: seven survived to reach adolescence,Manson (1902), p.

About half the size, it brought him less than half the amount he sold The Gleaners for. The Angelus was eventually shown the year before Millet's death in Brussels in 1874, where it was greatly admired by Léon Gambetta.Foley, Susan. "A Great and Noble Painting": Léon Gambetta and the Visual Arts in the French Third Republic (PDF format).

The Gleaners had a ritual that worked four degrees - Initiatory, Adoption, Ruth, and Dramatic. The Initiatory degree was required of all members. The names, rituals and ceremonies of the three degrees were based on the Biblical Book of Ruth. The rituals also included prayers and hymns, but omitted any explicit references to Christianity or Jesus Christ.

The Gleaners (Des glaneuses) is an oil painting by Jean-François Millet completed in 1857. It depicts three peasant women gleaning a field of stray stalks of wheat after the harvest. The painting is famous for featuring in a sympathetic way what were then the lowest ranks of rural society; this was received poorly by the French upper classes.

The Sabbath, page 73. New York: Farrar, Straus and Giroux, 1951. Gleaners (watercolor circa 1896–1902 by James Tissot) Tractate Peah in the Mishnah, Tosefta, and Jerusalem Talmud interpreted the laws of the harvest of the corner of the field and gleanings to be given to the poor in and , and .Mishnah Peah 1:1–8:9, in, e.g.

Another well known government program is the National School Lunch Program (NSLP) which provides free or reduced lunches to students who qualify for the program. The number of Americans suffering from hunger rose after the 2008 financial crisis, with children and working adults now making up a large proportion of those affected. In 2012, Gleaners Indiana Food bank reported that there were now 50 million Americans struggling with food insecurity (about 1 in 6 of the population), and that the number of folks seeking help from food banks had increased by 46% since 2005.Gleaners Indiana Food bank Retrieved 18 July 2012 According to a 2012 study by UCLA Center for Health Policy Research, even married couples who both work but have low incomes sometimes require the aid of food banks.

The Gleaners by Jean-François Millet, 1857. Gleaning is the act of collecting leftover crops from farmers' fields after they have been commercially harvested or on fields where it is not economically profitable to harvest. It is a practice described in the Hebrew Bible that became a legally enforced entitlement of the poor in a number of Christian kingdoms.Hussey, Stephen.

In a small village the sexton would often ring a church bell at eight o'clock in the morning and again at seven in the evening to tell the gleaners when to begin and end work.L W Cowrie (1996) Dictionary of British Social History Wordsworth Reference p.130 This legal right effectively ended after the Steel v Houghton decision in 1788.

See also Sifre to Deuteronomy 281, in, e.g., Sifre to Deuteronomy: An Analytical Translation. Translated by Jacob Neusner, volume 2, page 229. Gleaners (watercolor circa 1900 by James Tissot) Tractate Peah in the Mishnah, Tosefta, and Jerusalem Talmud interpreted the laws of the harvest of the corner of the field and gleanings to be given to the poor in and , and .

Some have helped take down Pioneer Village at the State Fair. Others have chosen to work in the warehouses at Gleaners and Second Harvest. Other programs include: supporting a paper recycling program on grounds, participating in the Indiana Reading & Information Services 3 times a week, collecting and delivering newspapers to the Madison County Humane Society, and working in the warehouse of Teachers' Treasures.

As gleaners, they primarily rely on auditory cues produced by prey instead of echolocation to hunt. The rise of anthropogenic noise pollution, such as traffic, in their habitats is negatively impacting their foraging and can reduce efficiency by up to 3 times. Pallid bats have been identified in the fossil record from late Pleistocene deposits in the western United States and Cuba.

Van Gogh did not intend for his works to be literal copies of the originals. Speaking specifically of the works after Millet, he explained, "it's not copying pure and simple that one would be doing. It is rather translating into another language, the one of colors, the impressions of chiaroscuro and white and black." He made a copy of The Gleaners (Des glaneuses) by Millet.

With the French Revolution still fresh in the minds of the upper classes, this painting was not perceived well. Millet's The Gleaners was also not perceived well due to its large size, 33 inches by 44 inches, or 84 by 112 centimetres. This was large for a painting depicting labor. Normally this size of a canvas was reserved for religious or mythological style paintings.

The Volunteers of Gleaners in Jackson, Mississippi collects food that otherwise would go to waste and gives it to charitable agencies. Donated food comes from wholesale food distributors, retail establishments such as supermarkets, restaurants, and bakeries, as well as hospitals and churches. The food is then distributed to charities caring for indigent elderly, to daycare centers, halfway houses, and shelters, at no cost to them.

Food distribution is based on numbers and characteristics of persons served in each shelter. Over 50 agencies share food donations based on need, so that Gleaners can provide food to charitable agencies that care for the poor, the homeless, the mentally ill and the chemically addicted. Most involved charities pick up food donations once or twice a week, while some get a daily food distribution.

Following the financial crisis of 2007–08, and the lasting inflation in the price of food that began in late 2006, there has been a further increase in the number of individuals requesting help from American and Canadian food banks. By 2012, according to Food Banks Canada, over 850,000 Canadians needed help from a food bank each month. For the United States, Gleaners Indiana Food bank reported in 2012 that there were then 50 million Americans struggling with food insecurity (about 1 in 6 of the population), with the number of individuals seeking help from food banks having increased by 46% since 2005.Gleaners Indiana Food bank Retrieved 2012-07-18 According to a 2012 UCLA Center for Health Policy Research study, there has been a 40% increase in demand for Californian food banks since 2008, with married couples who both work sometimes requiring the aid of food banks.

The Penal Colony, after Franz Kafka, 1972; The Women of Troy after Euripides, 1973; and The Gates of Paradise, after Jerzy Andrzejewski, 1987). Bruzdowicz has a long-standing creative relationship with French film director Agnès Varda, for whom she composed soundtracks for movies from Sans Toit Ni Loi (engl. Vagabond, Golden Lion in Venice, 1985) to Les Glaneurs et la Glaneuse (engl. The Gleaners and I), her multiple award-winning documentary.

Louis Pons (born 1927) is a French collage artist. He specializes in reliefs and assemblages made entirely from discarded objects and junk. In Agnès Varda's documentary The Gleaners and I, Pons explains his artistic process and understanding of art; what others see as "a cluster of junk," he sees as "a cluster of possibilities;" and that the function of art is to tidy up one's inner and exterior worlds.

Wheat was frailed (flailed) at home with two long poles with leather thongs, this having to take place when there was a high wind, in order that the chaff should blow away. Some gleaners frailed with a five-pronged fork. The watermill was sold in 1927. Mr Asplin, the miller, closed the sluice gate one night, forgot about it, and by morning the house and the mill were flooded.

In early modern England gleaning was an important source of income for labouring families, at a time when many parishes were affected by enclosure and the wholesale transformation of property rights. Over the harvests of 1785-1787, conflict had been escalating between land owners and gleaners in the village of Timworth, Suffolk. In 1787 Mary Houghton gleaned on the farm of a wealthy land owner, James Steel, who sued for trespass.

Lhermitte shows quite a bit of excess. When viewing the ground, identifying individual wheat grains is difficult if not impossible. This could be a representation of how difficult the work is, the endless task of gathering enough wheat to keep the families of these women fed. Around the same time the painting by Lhermitte was published and presented at the Salon, Millet's own "The Gleaners" was beginning to receive public appreciation.

The Jamaica Gleaners column "The Gavel" criticized Redwood for campaigning for a "Jamaica- first doctrine" which would exclude dual-citizens from Parliament, despite having already filed papers to emigrate from Jamaica. In his farewell address to the Senate, Redwood implored the body to move towards full political independence from Great Britain, hold a discussion on adopting nuclear energy, form a powerful anti-corruption agency, and improve Jamaican productivity.

He painted gleaners, faggot gatherers, hop pickers and sheepfolds. Mann was also greatly attracted by the stillness of the deserted slow-moving waterways of rural England; the Alde and the Dorset Avon, beloved by many Scottish artists of the period. Another recurring subject is that of the children whether playing on the beach or asleep in the sun. His travelling led to paintings of Orientalist subjects such as some Arabian portraits or Tangier beach scenes.

At their feet is a small basket of potatoes, and around them a cart and a pitchfork. Various interpretations of the relationship between the two peasants have been made, such as colleagues at work, husband and wife pair, or (as Gambetta interpreted it) farmer and maidservant. An 1889 sales catalogue described them simply as "a young peasant and his companion". Millet sold The Angelus after his The Gleaners was sold at the Salon in 1857.

Over the harvests of 1785–1787, conflict escalated between land owners and gleaners in the village. The first case was brought against Timworth shoemaker Benjamin Manning, by farmer John Worlledge in 1786, who gleaned in neighbouring Ingham. The court held that the defendant was not an inhabitant of the parish in which he gleaned, and was not entitled to the gleaning support. The court therefore decided that a stranger had no right to glean.

Gleaners, 1880 Julien Dupré (March 18, 1851 – April, 1910) was a French painter. He was born in Paris on March 18, 1851 to Jean Dupré (a jeweler) and Pauline Bouillié. It was expected that he enter the family business, and to that end Dupré began working in a shop that sold lace. However, his parents were forced to close their shop due to the war of 1870 and the siege of Paris.

Gleaners Community Food Bank in Detroit (a non-profit food bank), provides tons of food to the Capuchin Soup Kitchen every month in support of their soup kitchen operations. The Capuchin Soup Kitchen is part of the Detroit Agricultural Network, a partnership between The Greening of Detroit, Earthworks Capuchin Soup Kitchen and Michigan State University Extension, through which its Detroit Garden Resource Program provides families and community gardeners with low-cost seeds, compost and classes.

While mixed flocks are typically thought to be composed of two different species, it is specifically the two different behaviours of the species that compose a mixed flock. Within a mixed flock there can be two different behavioural characteristics: sally and gleaner. Sallies are individuals that act as guards of the flock and consume prey in the air during flight. On the other hand, gleaners are those that consume prey living within vegetation.

T. Cahill, The Gifts of the Jews (New York, 1998), ch. 1; A. W. H. Adkins, Merit and Responsibility: A Study in Greek Values (Oxford, 1960). More strictly ethical claims are found occasionally in the literature of ancient civilizations that is aimed at lower classes of society. The Sumerian Farmer's Almanac and the Egyptian Instruction of Amenemope both advise farmers to leave some grain for poor gleaners, and promise favours from the gods for doing so.

Gleaner Combine, produced between 1922-1927. The tractor on which it is mounted is partially visible. A 1965 Gleaner E displaying its ease of loading for over-the-road hauls. Gleaner combines date from 1923, when the Baldwin brothers of Nickerson, Kansas, created a high-quality and reliable self-propelled combine harvester. They decided to use the "Gleaner" name for their radically redesigned grain harvesting machine based on inspiration from "The Gleaners", an 1857 painting by Jean-François Millet.

To them, it was a reminder that French society was built upon the labor of the working masses, and landowners linked this working class with the growing movement of Socialism. The depiction of the working class in The Gleaners made the upper classes feel uneasy about their status. The masses of workers greatly outnumbered the members of the upper class. This disparity in numbers meant that if the lower class were to revolt, the upper class would be overturned.

This is a rare bass-only record. Grenadier, in fact, uses the double bass as two instruments, playing both pizzicato and arco. The album title was inspired by Agnès Varda’s documentary film The Gleaners and I, itself inspired by an oil painting by Jean-François Millet completed in 1857. The album contains 12 solo tracks that include Grenadier's originals as well as compositions written by George Gershwin, John Coltrane, Paul Motian, Rebecca Martin, and Wolfgang Muthspiel.

She says the entire process took place between September 1999 and April 2000. Varda traveled alone to get most of her “gleaned” shots, scouting markets between 2 and 4 p.m. Most of the abandoned objects and shots she found, including the “dancing lens cap” and the heart-shaped potato, were “[strokes] of luck—and we immediately filmed it.” Varda produced The Gleaners and I under Cine-Tamaris, the company she founded in 1954 and that has produced most of her previous films.

Worlledge was awarded £26 in damages.Suffolk Record Office, Bury St Edmunds FL641/9/1. Timworth Parish Constables' account book 1779-1839 The main advocate for the gleaners was Capel Lofft, Justice of the Peace, who had recently inherited the nearby halls at Stanton and Troston. The second and more widely impacting case came in 1788 when Mary Houghton, the wife of James a shoemaker and one of Timworth's last remaining freeholders, gleaned on the farm of James Steel, who subsequently sued for trespass.

In March 1961, William Reeder died, and in September that year Bertha was released and was succeeded as Young Women president by Florence S. Jacobsen. During her tenure, the age groups in the Young Women organization were realigned to their current configuration and the "Gleaners" were renamed the "Laurels". In 1964, Bertha married I.L. (Lee) Richards, a friend she had known for many years. Lee died in 1981, after which Bertha moved to Pocatello, Idaho to be near her daughter.

Tens of thousands of volunteers from churches, synagogues, scout troops, senior citizen groups, and other organizations participate each year in Gleaning Network activities all across the country. Each year, tens of millions of pounds of produce are salvaged and given to the poor at no cost to them. Gleaners are people of all ages and income levels who give their time and energy to this process. Within 48 hours of picking the produce, hungry Americans are usually eating the gleaned food.

The Gleaners (engraving by Gustave Doré from the 1865 La Sainte Bible) Rabbi Eliezer taught that one who cultivates land in which one can plant a quarter kav of seed is obligated to give a corner to the poor. Rabbi Joshua said land that yields two seah of grain. Rabbi Tarfon said land of at least six handbreadths by six handbreadths. Rabbi Judah ben Betera said land that requires two strokes of a sickle to harvest, and the law is as he spoke.

For example, where Thamnomanes antshrikes lead the group they give loud warning calls in the presence of predators. These calls are understood and reacted to by all the other species in the flock. The advantage to the Thamnomanes antshrikes is in allowing the rest of the flock, which are typically gleaners, to act as beaters, flushing prey while foraging which the antshrikes can obtain by sallying. Similar roles are filled in other flocks by other antbird species or other bird families, for example the shrike-tanagers.

In 1838 Edward Robinson noted 200 reapers and gleaners at work in a field near Al- Qubayba (which he called Kubeibeh). He added: "Some were taking their refreshment, and offered us some of their "parched corn." In the season of harvest, the grains of wheat, not yet fully dry and hard, are roasted in a pan or an iron plate, and constitute a very palliative article of bread; this is eaten along with bread, or instead of it."Robinson and Smith, 1841, vol 2, p.

Harvesters Resting (Ruth and Boaz), Museum of Fine Arts, Boston (1850–1853) In 1850 Millet entered into an arrangement with Sensier, who provided the artist with materials and money in return for drawings and paintings, while Millet simultaneously was free to continue selling work to other buyers as well.Murphy, p. xix. At that year's Salon, he exhibited Haymakers and The Sower, his first major masterpiece and the earliest of the iconic trio of paintings that would include The Gleaners and The Angelus.Murphy, p.31.

Prinsep's major paintings were Miriam watching the infant Moses (exhibited at the Royal Academy in 1867), A Venetian lover (1868), Bacchus and Ariadne (1869), News from abroad (1871), The linen gatherers (1876), The gleaners, and A minuet. In 1877, Prinsep returned to India and painted a huge picture of the Delhi Durbar. It was a commission from Robert Bulwer-Lytton, 1st Earl of Lytton, the Viceroy of India. It was exhibited in 1880 at the Royal Academy, presented to Queen Victoria and afterwards hung at Buckingham Palace.

Gleaners crew separated the two vessels, and the crew of the sloop was able to take shelter on the ketch before their sloop sank. As the winds worsened they drove Gleaner under the bows of a transport brig, where she became so trapped that she started to come apart from the action of the wind and waves. By 5pm Gleaner was so damaged that her crew and that of the sloop transferred to the transport brig. The combined crews were able to cut Gleaner free.

A night roost is usually less protected than a day roost; open porches may be used as night roosts by this species. In the winter time, this species may dip into shallow bouts of torpor, often in buildings, caves, or cracks in rocks. Pallid bats are insectivores that feed on arthropods such as crickets, and are capable of consuming up to half their weight in insect every night. Pallid bats are gleaners, capturing prey from the ground and transporting it to their night roost for consumption.

They produced paintings, often of rural scenes, that broke from the dramatic mythological themes. During the 1848 revolution, the painters that would soon be associated with Crozant school or the Barbizon school got together and deliberately opted to follow Constable's precepts, to make nature itself the subject of their paintings. Among them, Millet spread his vision of landscapes with figures, depicting peasants and farm work. The Gleaners (1857) is a perfect example, showing three peasant busy gleaning after the harvest, without staging or dramatic effects but simply an evocation of the simple life.

Varda describes her filming and writing process as cinecriture: the process of writing narration, choosing shots, encountering subjects, editing, choosing music is “all chance working with me, all this is the film writing that I often talk about.”Zeitgeist Films. She describes in the press kit for the film that she and her team would travel and shoot for roughly two weeks at a time and immediately proceed to edit while scouting for additional locations. Gleaners was filmed throughout France, in Beauce, Jura, Provence, the Pyrenees and in the suburbs of Paris.

The eggs hatch after 15 to 22 days, and the young fledge after a further 13 to 20 days. They are small to medium-sized birds, ranging from 9 to 35 cm in length. While individual species often are habitat specialists, species of this family can be found in virtually any Neotropical habitat, ranging from city parks inhabited by rufous horneros, to tropical Amazonian lowlands by many species of foliage-gleaners, to temperate barren Andean highlands inhabited by several species of miners. Two species, the seaside and the surf cinclodes, are associated with rocky coasts.

Acquiring Gleaner meant that it would also be a leader in self-propelled machines, and it would own two of the leading brands in combines. The Gleaner line augmented (and later superseded) the All-Crop Harvester line, and for several years Gleaner's profits made up nearly all of Allis-Chalmers' profit.. Gleaners continued to be manufactured at the same factory, in Independence, Missouri, after the acquisition. 1965 Gleaner E harvester In 1979, Gleaner released its first rotary combine, the N6. It was soon followed by the N5 and N7.

Admiral Penrose chose Gleaner to take the dispatches concerning the operation to create the bridge back to Britain, but asked Branch to wait at Saint-Jean-de-Luz for the arrival of one of General Lord Wellington's officers with dispatches from the general. Contemporary sources claim that Gleaner foundered there on 3 March 1814. According to a modern account, the weather worsened on 1 April 1814, but Gleaner was well-anchored and prepared and rode out the storm until the morning of 2 April. Unfortunately, the storm drove a merchant sloop across Gleaners bows.

21-29 in A population was found in northern Morocco in 1986. Population growth may be limited by lack of suitable habitat, and there may be local declines due to loss of conifers through storms or replacement by plantations of native deciduous trees. There may also be localised losses in areas of high heavy metal pollution, which particularly affects ground feeders like thrushes and conifer foliage gleaners, including both European Regulus species. Conifer specialists suffer from the loss and poor quality of needles, and the consequent decrease in abundance of their invertebrate food.

The fasciated antshrike feeds on large insects and other prey in the mid-story, from off the ground. It particularly feeds on vine clusters and near tree trunks, but will also come down to the forest floor on occasion. Insects taken include grasshoppers, bugs, beetles and caterpillars, as well as spiders and even lizards, amphibians and occasionally fruit. They will join mixed species feeding flocks with antwrens and foliage-gleaners that pass through their territories, and will also follow army ants to take prey flushed by them, but they are not obligate ant-followers.

Olympia by Manet (1863) Upper-class Parisians felt threatened the dignified size of the canvas used to depictThe Gleaners by Jean-François Millet in 1857. Scandals in art occur when members of the public are shocked or offended by a work of art at the time of its first exhibition or publication, (e.g. visual art, literature, scenic design, or music). The provocativeness of the scandal may relate to a controversial subject or style, being context-sensitive, according to the personality of the artist, along with transient political, religious, social, and moral factors.

At the Salon of 1850, the monumental painting A Burial At Ornans by Gustave Courbet was denounced for the unflattering faces of the mourners and their plainness. The "explosive reaction" brought Courbet instant fame.Gustave Courbet's A Burial at Ornans, PBS Critics were divided in 1857 by The Gleaners painted by Jean-François Millet: some saw the gleaning women as a symbol of a popular uprising ("the scaffolds of 1793",) others complained about the realistic representation of the rural poor on a large canvas of the size reserved for religious scenes.

Echoes of Millet's The Gleaners can be seen in Johnson's The Cranberry Harvest, Island of Nantucket, although the emotional tone of the work is far different. His careful portrayal of individuals rather than stereotypes enhances the realism of his paintings. Ojibwe artist Carl Gawboy notes that the faces in the 1857 portraits of Ojibwe people by Johnson are recognizable in people in the Ojibwe community today. Some of his paintings, such as Ojibwe Wigwam at Grand Portage, are highly realistic, with details seen in the later photorealism movement.

The Munich Pinakothek has his Rainbow and the Dresden Gallery his Old Age. Among his chief works are the Funeral at Dachau, Homewards, Wedding Procession in the Carpathian Mountains, The Gleaners, Before the Fish Auction, Summer, and Going to School. Leopold’s sister Maria was also a painter. Leopold’s sister Clara was a pianist who studied with Clara Schumann and with Franz Liszt. A love of art and music was passed through this family to Leopold’s great-nephew, Dietrich Bonhoeffer (1906-1945), the German theologian and martyr who gave his life in opposing Adolf Hitler.

At the time of her death, Varda was the oldest person to be nominated for an Academy Honorary Award and is the first female director to receive an honorary Oscar. In 2019, the BBC polled 368 film experts from 84 countries to name the 100 best films by women directors. Varda was the most- named director, with six different films on the list: The Beaches of Agnes, One Sings, the Other Doesn't, The Gleaners and I, Le Bonheur, Vagabond, and the number-two entry on the list, Cléo from 5 to 7.

"Emotion Picture: Agnes Varda's Self-Reflexive the Beaches of Agnes and the Cinema of Generosity." Film Comment 45.4 (2009): 44. Print. Another factor that makes The Gleaners and I especially noteworthy in the context of cinematic history is the fact that a filmmaker of Varda's stature chose to abandon high-end film equipment for low-end digital video. For Varda, the decision was in many ways a practical one. As she notes in her interview with Melissa Anderson “I had the feeling that this is the camera that would bring me back to the early short films I made in 1957 and 1958.

The composition of these flocks varies geographically; in Amazonia species of Thamnomanes antshrike are the leading nuclear species; elsewhere other species, such as the dot-winged antwrens and checker-throated stipplethroats, fill this role. Other species of antwren and antbird join them along with woodcreepers, ant-tanagers, foliage-gleaners and greenlets. The benefits of the mixed flock are thought to be related to predation, since many eyes are better for spotting predatory hawks and falcons. Comparisons between multi- species feeding flocks in different parts of the world found that instances of flocking were positively correlated with predation risk by raptors.

Musa's large works are usually executed in textile ink on printed textile, creatively blending the designs of the fabric with his own painting. In his art, which he claims should not be labelled as "African", Musa often appropriates classical Western masterpieces such as The Gleaners by Jean-François Millet or Olympia by Édouard Manet. Confronting and mixing these classical images with latter-day icons such as Vincent van Gogh, Josephine Baker, Che Guevara or Osama bin Laden, Musa creates a critical view on western art, politics and culture. Musa is also a calligrapher, an engraver and has illustrated numerous books.

Gleaning is the traditional Biblical practice of gathering crops that would otherwise be left in the fields to rot or be plowed under after harvest. Because the food is unmarketable, usually due to cosmetic reasons, some growers allow crews of gleaners to pick what is left after harvest to donate to those who are needy. It is also often more cost-effective for farmers to have their crops gleaned than to have paid pickers go back through the fields for the missed produce. The Society of St. Andrew's Gleaning Network coordinates volunteers, growers, and distribution agencies to salvage food for the needy.

The implicit irony was unsettling. After the Salon, Millet, short on money, sold his piece for 3,000 francs—below his asking price of 4,000—after haggling with an Englishman named Binder who would not budge for his meagre counter- offer; Millet tried to keep the miserable price a secret.Étienne Moreau- Nélaton, Millet racconté par lui-même, (Paris: 1921) While The Gleaners garnered little but notoriety during his life, after his death in 1875, public appreciation of his work steadily broadened. In 1889, the painting, then owned by banker Ferdinand Bischoffsheim, sold for 300,000 francs at auction.

The deal included an agreement that the Laplanches would remain on the estate and continue for some time to participate in the winemaking process."Burgundy's Château de Pommard to Be Sold to Couple" Their wine has been advertised as "the only wine in the world grown and bottled by an old disciple of Lacan's.""Saturday 29 September 2001" Laplanche and his wife were interviewed, about both wine and psychoanalysis, in Agnès Varda's documentary The Gleaners and I. Nadine Laplanche died in spring 2010. Jean Laplanche seemed to live exclusively in Pommard until his death two years later.

Remarkable Australian Farm Machines, Graeme R. Quick, Rosenberg Publishing, 2007, page 72. In 1923 in Kansas, the Baldwin brothers and their Gleaner Manufacturing Company patented a self-propelled harvester that included several other modern improvements in grain handling.Gleaner: 85 Years of Harvest History, Gleaner Agco Company, 2008, page 8 Both the Gleaner and the Sunshine used Fordson engines; early Gleaners used the entire Fordson chassis and driveline as a platform. In 1929, Alfredo Rotania of Argentina patented a self-propelled harvester.La maquinaria que haría historia, La Nacion, 6 Nov 2004 (Spanish) International Harvester started making horse-pulled combines in 1915.

Primary defensive adaptations against nocturnally active acoustically orienting predators such as leaf-nosed bats and other foliage-gleaners include the use of stridulatory signals characterized by a single tone at high frequency and of short duration. Secondary defensive adaptations include acoustical alarm displays, regurgitation of material from the stomach, and the use of their powerful mandibles to inflict a painful bite. Autohaemorrhaging of hemolymph, which contains toxic phytotoxins, is another defensive strategy used by many species of katydids and possibly also the members of genus Panoploscelis. In addition to these adaptations, their massive size and the strength of their heavily armored, thorny legs offers them significant protection.

Volunteers, called gleaners, visit a farm where the farmer donates what is left in their fields to collect and donate to a food bank. In New York State in 2010, this form of gleaning alone rescued 3.6 million pounds of fruits and vegetables. There are a number of organizations that practice gleaning to resolve issues of societal hunger; the Society of St. Andrew, for example, is dedicated to the role. When people glean and distribute food, they may be bringing themselves legal risk; in the Soviet Union, the Law of Spikelets (sometimes translated "law on gleaning") criminalised gleaning, under penalty of death, or 20 years of forced labour in exceptional circumstances.

Pepé's fumes spread through the Louvre spoiling various works of art (the limp watches of Salvador Dalí's The Persistence of Memory turn erect and break, the heads of the couple on Grant Wood's American Gothic retreat into their bodies in the manner of turtles, the person overseeing the workers on Jean-François Millet's The Gleaners shoots a starting pistol causing the workers to dash off like sprinters, and the color on Edgar Degas's Two Dancers falls off turning it into a paint-by-numbers picture), the cartoon ending with the fumes causing the Mona Lisa to talk ("I can tell you chaps one thing. It's not always easy to hold this smile.").

Millet's work did not depict anything religiously affiliated, nor was there any reference to any mythological beliefs. The painting illustrated a realistic view of poverty and the working class. One critic commented that "his three gleaners have gigantic pretensions, they pose as the Three Fates of Poverty...their ugliness and their grossness unrelieved." While the act of gleaning was not a new topic—representations of Ruth had existed in art—this new work was a statement on rural poverty and not biblical piety: there is no touch of the biblical sense of community and compassion in the contrasting embodiments of grinding poverty in the foreground and the rich harvest in the sunlit distance beyond.

The Gleaners by Jean-François Millet seems innocuous today, but the large size of a painting, generally reserved for religious and mythological subjects, depicting the rural poor was seen by the upper class as an endorsement of the type of grievances that had erupted in the revolutionary violence of 1848, just 9 years earlier. In contrast, the 90 cans of Artist's Shit (Italian: Merda d'artista, 1961), each labeled as containing 30 grams of feces of the artist Piero Manzoni, were regarded as social commentary rather than scandal; collectors began buying the cans and they soon fetched high prices at auction; in August 2016, at an auction in Milan, can #69 sold for €275,000, including auction fees.

Sometimes farmers will allow food banks to send gleaners to salvage leftover crops for free once their primary harvest is complete. A few food banks have even taken over their own farms, though such initiatives have not always been successful. Many food banks don't accept fresh produce, preferring canned or packaged food due to health and safety concerns, though some have tried to change this as part of a growing worldwide awareness of the importance of nutrition. As an example, in 2012, London Food Bank (Canada) started accepting perishable food, reporting that as well as the obvious health benefits, there were noticeable emotional benefits to recipients when they were given fresh food.

1 The painting of Ring's wife, Sigrid Kähler, is surrounded by subtle symbols indicating his love for her, such as the myrtle branches above her head, a symbol of Aphrodite according to the Ancient Greeks, and used in Denmark to adorn the bride at weddings. As a painter, Ring never distanced himself from his humble origin, but rather made it his dominant theme, depicting the reality of rural life. This is visible for example in his painting Gleaners (Axsamlere 1887) showing how the rural poor would pick up the grain left behind by the increasingly industrial methods of harvesting, a motif first made famous by Millet. Most of his paintings depict the village life and landscapes of southern Zealand from Præstø to Næstved.

As an artist Hanna has created the artwork for both the James Blackshaw curated compilation record The Garden of Forking Paths, and the Arborea curated compilation record Leaves of Life."Devendra Banhart, Marissa Nadler, Alela Diane on Benefit Compilation", Pitchfork Media, 14 May 2009 She studied Environmental Art at the Glasgow School of Art and had a residency in Cromarty, where she recorded people imitating the sea on the CD 100 Breaths, 100 Waves, and a replication of a dawn chorus on Salutations To The Sun. Further releases followed on Tuulikki's own Gleaners record label. In 2007, Tuulikki used sound and light to transform boarded-up, condemned row-houses in Dunfermline's Duncan Crescent, installing "dream machines" - magic lanterns featuring silhouettes of flora and fauna.

A month after the Secretan sale, The Gleaners was sold for 300,000 francs, and the contrast between the auction prices of Millet's paintings on the art market and the value of Millet's estate for his surviving family led to the droit de suite (French for "right to follow"), a French law that compensates artists or their heirs when artworks are resold. The imagery of The Angelus with peasants praying was a popular sentimental 19th-century religious subject. Generations later, Salvador Dalí had seen a reproduction of it on the wall of his childhood school and claimed to have been spooked by the painting. He felt the basket looked like the coffin of a child and the woman looked like a praying mantis.

According to a 2012 study by UCLA Center for Health Policy Research, even married couples who both work but have low incomes will sometimes now require emergency food assistance. Gleaners Indiana Food bank Retrieved 2012-07-18 In the 1980s and 90s, advocates of small government had been largely successful in un-politicizing hunger, making it hard to launch effective efforts to address the root causes, such as changing government policy to reduce poverty among low earners. In contrast to the 1960s and 70s, the 21st century has seen little significant political lobbying for an end to hunger within America, though by 2012 there had been an increase in efforts by various activists and journalists to raise awareness of the problem. American society has however responded to increased hunger by substantially increasing its provision of emergency food aid and related relief, from both the private and public sector, and from the two working together in partnership.