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Rosa Bonheur
Photograph of Rosa Bonheur (1880-90) in the garden of her Château at By
Birth name Marie-Rosalie Bonheur
Born 16 March 1822(1822-03-16)
Bordeaux, France
Died 25 May 1899 (aged 77)
Thomery (By), France
Nationality French
Field Painting, Sculpture
Movement Realism
Works Ploughing in the Nivernais, The Horse Fair

Rosa Bonheur, née Marie-Rosalie Bonheur, (March 16, 1822 – May 25, 1899) was a French animalière, realist artist, and sculptor. As a painter she became famous primarily for two chief works: Ploughing in the Nivernais (in French Le labourage nivernais, le sombrage ), which was first exhibited at the Salon of 1848, and is now in the Musée d’Orsay in Paris depicts a team of oxen ploughing a field while attended by peasants set against a vast pastoral landscape; and, The Horse Fair (in French Le marché aux chevaux), which was exhibited at the Salon of 1853 (finished in 1855) and is now in the Metropolitan Museum of Art, in New York City. Bonheur is widely considered to have been the most famous female painter of the nineteenth century.[1]

Contents

Early development and artistic training

"Portrait of Rosa Bonheur" by Edouard Louis Dubufe which shows the artist with a bull, symbolic of her work as a painter of animals, or Animalière.

Bonheur was born in Bordeaux, Gironde, the eldest child in a family of artists. Her father Raimond Bonheur was a landscape and portrait painter and an early adherent of Saint-Simonianism, a Christian-socialist sect that promoted the education of women alongside men. The Saint-Simonians also prophesied the coming of a female messiah. Her mother Sophie (née Marquis) who died when Rosa Bonheur was only eleven, had been a piano teacher. Bonheur's younger siblings included the animal painters Auguste Bonheur and Juliette Bonheur and the animal sculptor Isidore Jules Bonheur. That the Bonheur family was renowned as a family of artists is attested to by the fact that Francis Galton, the cousin of Charles Darwin used the Bonheurs as an example of "Hereditary Genius" in his 1869 essay of the same title.[2]

Bonheur was born in Bordeaux (where her father had been friends with Francisco Goya who was living there in exile) but moved to Paris in 1828 at the age of six with her mother and brothers, her father having gone ahead of them to establish a residence and income. By family accounts, she had been an unruly child and had a difficult time learning to read. To remedy this her mother taught her to read and write by having her select and draw an animal for each letter of the alphabet.[3] To this practice in the company of her doting mother she attributed her love of drawing animals.

Although she was sent to school like her brothers, she was a disruptive force in the classroom and was consequently expelled from numerous schools.[4] Finally, after trying to apprentice her to a seamstress Raimond agreed to take her education as a painter upon himself. She was twelve at that point and would have been too young to attend the École des Beaux-Arts even if they had accepted women.

Bonheur' Study of a Cow. Courtesy Figge Art Museum

As was traditional in the art schools of the period, Bonheur began her artistic training by copying images from drawing books and by sketching from plaster models. As her training progressed she began to make studies of domesticated animals from life, to include horses, sheep, cows, goats, rabbits and other animals in the pastures on the perimeter of Paris, the open fields of Villiers and the (then) still-wild Bois de Boulogne. At age fourteen she began to copy from paintings at the Louvre. Among her favorite painters were Nicholas Poussin and Peter Paul Rubens, but she also copied the paintings of Paulus Potter, Porbus, LĂ©opold Robert, Salvatore Rosa, and Karel Dujardin.[5]

She also studied animal anatomy and osteology by visiting the abattoirs of Paris and by performing dissections of animals at the École nationale vétérinaire d'Alfort, the National Veterinary Institute in Paris[6]. There she prepared detailed studies which she would later use as references for her paintings and sculptures. During this period, too, she met and became friends with the father and son comparative anatomists and zoologists Étienne Geoffroy Saint-Hilaire and Isidore Geoffroy Saint-Hilaire by whom her father was employed to create natural history illustrations.[7]

Early success

The Horse Fair, 1853-1855. The original hangs in the Metropolitan Museum of Art in New York.

Rosa Bonheur received a French government commission which led to her first great success, Ploughing in the Nivernais, exhibited in 1849. Her most famous work was the monumental Horse Fair, completed in 1855, which measured eight feet high by sixteen feet wide.[8] Its subject is the horse market held in Paris on the tree-lined boulevard de l’Hôpital, near the Pitié-Salpêtrière Hospital, visible in the background on the left. It led to international fame and recognition and that same year she travelled to Scotland, "en route" meeting Queen Victoria, who admired her work, and where she completed sketches for later works including A Scottish Raid, completed in 1860, and Highland Shepherd. These were anachronistic pieces as they depicted a way of life in the Scottish highlands that had disappeared a century earlier. Nonetheless, they had enormous appeal to Victorian sensibilities. She was especially popular in England, though less so in her native France.

Patronage and the market for her work

She was represented by private art galleries, and in particular that of Ernest Gambart (1814-1902), which would purchase the reproduction rights to her work and sell engraved copies of her paintings. It was Gambart who brought Bonheur to the United Kingdom in 1855.[9] Many engravings were created by the skillful Charles George Lewis (1808-1880), one of the finest engravers of his day. Gambart sold through his gallery in London's Pall Mall.

Legacy

Rosa Bonheur's atelier in Château de By, Thomery, is a museum showing the place where she worked during the last 40 years of her life[10].

Due to a tendency in 1980s-1990s academic criticism to locate Bonheur as a proto-Feminist and as a pivotal figure for Queer theory, she is perhaps most famous today because she was known for wearing men's clothing and living with women. Her work and artistic talent has now become somewhat secondary in importance to her manner of dress, her choice of companions and her penchant for smoking cigarettes.[11] On her wearing of trousers, she said at the time that her choice of attire was simply practical as it facilitated her work with animals: "I was forced to recognize that the clothing of my sex was a constant bother. That is why I decided to solicit the authorization to wear men's clothing from the prefect of police. But the suit I wear is my work attire, and nothing else. The epithets of imbeciles have never bothered me...." [12] She was a lesbian.[13]

She died at the age of 77, at Thomery (By), France. Many of her paintings, which had not previously been shown publicly, were sold at auction in Paris in 1900.[14]

Biographical works

Weaning the Calves, 1879

While there are many sources of biographical information about Rosa Bonheur, there are three primary texts which are most consulted and cited in the subsequent literature; the first is a pamphlet written by Eugène de Mirecourt, Les Contemporains: Rosa Bonheur which appeared in 1856 just after her Salon success with The Horse Fair.[15] When, in 1897, Venancio Deslandes came across a copy of this pamphlet he sent it to Bonheur with a request that she might tell him if it were accurate.[16] This document, corrected and annotated by Rosa Bonheur herself is a key primary biographical source. The second account was written by Anna Klumpke, an American painter from Boston who made Bonheur’s acquaintance in 1887 while serving as a translator for an American collector of her work and who later became the older artist’s companion in the last year of her life. This account, published in 1909 as Rosa Bonheur: sa vie, son oeuvre was translated in 1997 by Gretchen Van Slyke and published as Rosa Bonheur: The Artist's (Auto)biography, so-named because Klumpke had used Bonheur’s first-person voice.[17] The third, and most authoritative work is Reminiscences of Rosa Bonheur, edited by Theodore Stanton (the son of Elizabeth Cady Stanton, the American feminist), and published simultaneously in London and New York in 1910. This volume includes numerous correspondences between Bonheur and her family and friends, subsequently lending the deepest insight into the artist’s life, as well as her understanding of her own art-making practices and the art world in general. The volume is arranged in a loosely chronological fashion, except when letters and reviews are grouped by correspondent or critic.[18]

See also

Notes

The following footnotes cite references, below.

  1. ^ Janson, H. W., Janson, Anthony F. History of Art. Harry N. Abrams, Inc., Publishers. 6th edition. ISBN 0-13-182895-9, page 674.
  2. ^ Galton, Francis. Hereditary Genius: An Inquiry into its Laws and Consequences. Second edition. (London: MacMillan and Co, 1892), p. 247. Original 1869.
  3. ^ Rosalia Shriver, Rosa Bonheur: With a Checklist of Works in American Collections (Philadelphia: Art Alliance Press, 1982) 2-12. (It must be said that, as a reference source this book is itself riddled with inaccuracies and mis-attributions but it accords with the consensus account on this matter.)
  4. ^ Theodore Stanton, Reminiscences of Rosa Bonheur (New York: D. Appleton and company, 1910), Theodore Stanton, Reminiscences of Rosa Bonheur (London: Andrew Melrose, 1910).
  5. ^ Boime, Albert. "The Case of Rosa Bonheur: Why Should a Woman Want to be More Like a Man?", Art History v. 4, December 1981, p. 384-409.
  6. ^ Wild Spirit: The Work of Rosa Bonheur by Jen Longshaw
  7. ^ Ashton, Dore and Denise Browne Hare. Rosa Bonheur: A Life and a Legend, (ew York: Viking, 1981, 206pp.
  8. ^ http://www.albrightknox.org/ArtStart/Bonheur.html The Horse Fair at Albright Knox Gallery, sketch for the London version; the sketch for the New York version is in the Ludwig Nissen Foundation, see: C. Steckner, in: Bilder aus der Neuen und Alten Welt. Die Sammlung des Diamantenhändlers Ludwig Nissen, 1993, p. 142 and http://www.spaeth.net/galerie/bonheur.htm .
  9. ^ Ernest Gambart 1814 -1902
  10. ^ http://systhome.free.fr/musee.php
  11. ^ See, for instance, Britta C. Dwyer, “Bridging the gap of difference: Anna Klumpke's “union” with Rosa Bonheur”, Out of context. (New York: Greenwood Press, 2004), p. 69-79.; Laurel Lampela, “Daring to be different: a look at three lesbian artists”, Art Education v.54 no. 2 (March 2001), p. 45-51. and Gretchen Van Slyke, “The sexual and textual politics of dress: Rosa Bonheur and her cross-dressing permits”, Nineteenth-Century French Studies v. 26 no. 3-4 (Spring/Summer 1998) p. 321-35.
  12. ^ Janson: History of Art, page 929
  13. ^ Patricia Cronin, 'Cassandra Langer Talks with an artist's artist: The Second Life of Harriet Hosmer', in The Gay & Lesbian Review Worldwide, Jan-Feb 2010, p. 18
  14. ^ 1911 Encyclopedia article on Rosa Bonheur
  15. ^ Eugène de Mirecourt, Les Contemporains : Rosa Bonheur (Paris: Gustave Havard, 15 Rue GuĂ©nĂ©gaud, 1856) 20.
  16. ^ Venancio Deslandes was the former head of the National Printing Office of Lisbon.
  17. ^ Anna Klumpke, Rosa Bonheur: Sa Vie, Son Oeuvre, (Paris: E. Flammarion, 1909), Anna Klumpke, Rosa Bonheur: The Artist's (Auto)Biography, trans. Gretchen Van Slyke (Ann Arbor: University of Michigan Press, 1998).
  18. ^ Theodore Stanton, Reminiscences of Rosa Bonheur, (New York: D. Appleton and company, 1910), Theodore Stanton, Reminiscences of Rosa Bonheur, (London: Andrew Melrose, 1910).

References

Further reading
  • Dore Ashton, Rosa Bonheur: A Life and a Legend. Illustrations and Captions by Denise Browne Harethe. New York: A Studio Book/The Viking Press, 1981 NYT Review

External links


1911 encyclopedia

Up to date as of January 14, 2010
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