, Musée National du Château. Only three paintings by him are known, all with mythological subjects and set in a landscape: ''Le sacrifice d'Iphigénie
(Fontainebleau, Musée National du Château), Vénus, Vulcain et l'Amour
(Venus, Vulcan and Love), sometimes called Thétis priant Vulcain de forger les armes de son fils'' (oil on wood,
Reims, Musée des Beaux-Arts, from the former Hôtel de l'Abbaye d'Avenay, where the painting was used as a mantelpiece), and
Cérès et Bacchus (
Châlons-en-Champagne, Musée des Beaux-Arts et d'Archéologie). A fourth painting, recently found and acquired by the French
Centre des Monuments Nationaux for the
Château d'Azay-le-Rideau museum, could be attributed to him on stylistic grounds:
La Vision de Constantin. The name of Jacob Bunel has also been put forward as a possible author of this composition.
''Le sacrifice d'Iphigénie'' Philippe Millereau's most famous painting is ''Le Sacrifice d'Iphigénie
(oil on wood, Fontainebleau, Musée National du Château), seen by Charles Sterling in 1936 in a private collection in Paris, acquired in 1937 by the Château de Fontainebleau, and presented at the exhibition on the Fontainebleau School at the Grand Palais in 1972–1973. (Paris,
Musée du Louvre), by the Italian painter, while the naiad in the foreground of ''Le Sacrifice d'Iphigénie
(thought to be an allegory of the port of Aulis where the scene is set) adopts a posture similar to the spring visible in the foreground of Le Rapture de Proserpine'' by dell'Abate. In ''Le Sacrifice d'Iphigénie'', the theatrical lighting of the landscape and the impasto on the foliage once again recall Niccolo's work. Finally, Sterling draws a third connection, this time linking Millereau to Flemish painting. This association is due in particular to the artist's somewhat theatrical, magical landscapes, illuminated by a dreamlike, mysterious light, sometimes found in northern painters (among whom Sterling cites Pieter Schoubroeck, Anthonie Mirou and Frederick van Valckenborgh). Sterling describes him as "a small, personal master, with a grace less prim than Dubreuil's, and a kind of health that makes him somewhat akin to the Italianized Flemish of his time", and compares him to Jérôme Francken, or
Hendrick van Balen, for his treatment of the plump little children in ''Le Sacrifice d'Iphigénie''.
Frans Floris,
Hendrik Goltzius and
Abraham Bloemaert are also possible models. The support of his paintings (wood) also recalls the northern schools. Sterling's study concludes with the observation that Millereau, while remaining attached to the second Fontainebleau school, differs slightly from it thanks to his multiple inspirations, and a singular style. Sterling states that "this familiar touch, combined with an easy grace and a calm, static composition, gives Millereau's painting ''Le Sacrifice d'Iphigénie'' a certain authority, setting it apart from the dancing agitation of the second school. It relieves us of the often gratuitous artifices of this school". Although his work bears witness to the influence of Bellifontains artists on Parisian painting of the period, Philippe Millereau remains a "
petit maître" of French painting, and his life, still little known and poorly documented, does not allow one to confidently define his work, and his role in French painting of the early 17th century. == List of works ==