Rosa Bonheur

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Rosa Bonheur , born Marie-Rosalie Bonheur , (16 March 1822 - 25 May 1899) is a French artist, an animaliÃÆ'¨re (painter) and sculptor, known for his artistic realism. His most famous paintings are Plowing in Nivernais , first exhibited at the Paris Salon in 1848, and now in MusÃÆ'Â Â e d'Orsay in Paris, and The Horse Fair > (in French: Le marchÃÆ' Â © aux chevaux ), which was showcased at the Salon in 1853 (completed in 1855) and is now at the Metropolitan Art Museum, in New York City. Bonheur is widely regarded as the most famous female painter during the nineteenth century.

Video Rosa Bonheur

Initial development and artistic training

Bonheur was born on March 16, 1822 in Bordeaux, Gironde, the eldest child in a family of artists. His mother was Sophie Bonheur (nÃÆ' Â © e Marquis), a piano teacher; he died when Rosa Bonheur was eleven years old. His father is Oscar-Raymond Bonheur, landscape painter and portrait that encourages his daughter's artistic talents. The Bonheurs cling to Saint-Simonianism, a Christian-social sect that promotes women's education with men. Bonheur brothers include animal painters Auguste Bonheur and Juliette Bonheur and the sculptor Isidore Jules Bonheur. Francis Galton used Bonheurs as an example of "Hereditary Genius" in his work in 1869 with the same title.

Bonheur moved to Paris in 1828 at the age of six with his mother and siblings, his father had preceded them to build shelter and income. Based on family accounts, he is an unruly child and has difficulty learning to read, although even before he can speak, he will sketch for hours with pencil and paper. Her mother taught her to read and write by asking her to select and draw a different animal for each letter of the alphabet. The artist praised his love for drawing animals for this reading lesson with his mother.

At school he is often annoying, and he is expelled from many schools. After a failed apprentice with a tailor at the age of twelve, his father did to train him as a painter. His father allowed him to pursue his interest in painting animals by bringing live animals to the family studio to study.

Following the traditional art school curriculum of the period, Bonheur began his training by copying pictures from a drawing book and by sketching a plaster model. As his training progressed, he made a study of pets, including horses, sheep, cows, goats, rabbits, and other animals in the grasslands on the outskirts of Paris, the nearby Villiers field near Levallois-Perret and Bois. de Boulogne. At the age of fourteen, he began copying paintings in the Louvre. Among his favorite painters are Nicholas Poussin and Peter Paul Rubens, but he also copied the paintings of Paul Potter, Young Frans Pourbus, Louis LÃÆ'Â © opold Robert, Salvatore Rosa, and Karel Dujardin.

He studied animal anatomy and osteology in slaughterhouses in Paris and by dissecting animals in ÃÆ'â € cole nationale và © à © tÃÆ'  © rinaire d'Alfort, the National Veterinary Institute in Paris. There he prepared a detailed study which he later used as a reference for his paintings and sculptures. During this period, he befriended the comparative anatomy of father-and-son and zoologist, ÃÆ' â € ° tienne Geoffroy Saint-Hilaire and Isidore Geoffroy Saint-Hilaire.

Maps Rosa Bonheur

Initial success

A French government commission brought the first major success of Bonheur, Plowing at Nivernais, exhibited in 1849 and now in MusÃÆ'Â Â e d'Orsay in Paris. His most famous, monumental The Horse Fair, measuring eight feet high by sixteen feet wide, was completed in 1855. It depicts the horse market held in Paris, on a tree lined road l. 'HÃÆ'Â'pital, near the PitiÃÆ' Â © -SalpÃÆ'ªtriÃÆ'¨re Hospital, seen in the background of the painting. There is a reduced version at the National Gallery in London. This work produces international fame and recognition; in the same year he went to Scotland and met Queen Victoria on the way, who admired Bonheur's work. In Scotland, he completed sketches for subsequent work including Highland Shepherd, completed in 1859, and Scottish Attack, completed in 1860. These pieces illustrate the way of life in the Scottish highlands that had disappeared a century earlier, and they had a tremendous appeal to Victorian sensibilities.

Although he is more popular in Britain than in his home country, France, he was decorated with the French Honorary Legion by Queen Eugenie in 1865, and was promoted to Officer of the Order in 1894. He was the first female artist to be awarded this award.

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Protection and market for its work

Art dealer Ernest Gambart (1814-1902) represents him; he brought Bonheur to England in 1855, and he bought reproductive rights for his work. Many of Bonheur's engravings were created from reproduction by Charles George Lewis (1808-1880), one of the best carvers of the time.

In 1859, his success allowed him to move to ChÃÆ' Â ¢ teau de By near Fontainebleau, not far from Paris, where he remained for the rest of his life. He's done a lot of rebuilding, and has a pen for his animal model. The house is now a museum dedicated to her.

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Personal life and inheritance

Women are often only reluctantly educated as artists in Bonheur's day, and by becoming successful artists, she helps open the door for the female artists who follow her.

Bonheurs can be seen as "New Women" in the 19th century; he is known for wearing men's clothing, but he attributes his trousers options with their practicality to working with animals (see Rational dress). In her romantic life, she openly becomes a lesbian; he stayed with his first partner, Nathalie Micas, for more than 40 years until Micas's death, and then began a relationship with American painter Anna Elizabeth Klumpke. At a time when lesbian sex - especially tribadism - is regarded as something animal and undermined by most French officials, Bonheur's frank attitude about his personal life is very encouraging.

In a world where gender expression is literally watched, Rosa Bonheur breaks the line by deciding to wear pants, shirts and ties. He does not do this because he wants to be a man, although he sometimes calls himself a grandchild or relative when talking about his family; on the contrary, Bonheur identifies with the strength and freedom provided to men. Wearing a man's outfit gives Bonheur a sense of identity because it allows him to openly show that he refuses to adapt to the social construction of society from the gender binary. It also broadcasts his sexuality at a time when the lesbian stereotype consists of women who cut their hair short, wear pants, and chain-smoking. Rosa Bonheur did all three. Bonheur has never explicitly said he is a lesbian but his lifestyle and the way he talks about his female partner shows this.

She has two female partners in her life; first he grew up together and then lived together for forty years and the second came into his life after the death of his first spouse. Bonheurs, while enjoying activities that are usually reserved for men, such as hunting and smoking, view her femininity as something far superior to anything that men or men can offer or experience. He looked at the man as a fool and mentioned that the only man he had time or attention was a bull he had painted.

After choosing never to be an addition or addition to a man in terms of painting, he decides he will be his own boss and that he can rely on himself and his female partner. He has his partners focus on home life while he takes on the role of breadwinner by focusing on his paintings. The Bonheur legacy paved the way for other lesbian artists who did not like the life of the community that was laid out for them.

Bonheur died on May 25, 1899 at the age of 77, in Thomery (By), France. She was buried together with Nathalie Micas (1824 - 24 June 1889), her lifelong friend, at PÃÆ'¨re Lachaise Cemetery, Paris, and then Klumpke joined them. Many of his paintings, previously never publicly displayed, were sold at auction in Paris in 1900. One of his works, Monarchs of the Forest, was sold at auction in 2008 for more than US $ 200,000.

With other 19th-century realist painters, Bonheur fell out of fashion for much of the 20th century, and in 1978 a critic described the Plowing in Nivernais as "completely forgotten and rarely dragged out of oblivion"; that year was part of a series of paintings sent to China by the French government for an exhibition entitled "French Landscape and Farmers, 1820-1905". Since then his reputation has risen again.

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Biography

The first biography of Rosa Bonheur was published in his lifetime: a pamphlet written by Eugène de Mirecourt, Les Contemporains: Rosa Bonheur, emerging only after the success of his Salon with The Horse Fair in 1856. Bonheur then corrects and makes a note of this document.

The second account was written by Anna Klumpke, an American painter from Boston who met Bonheur in 1887 while serving as a translator for American art collectors. Klumpke became Bonheur's friend in the last year of Bonheur's life and was Bonheur's sole heir after his death. Biography Klumpke, 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, named so because Klumpke has used the voice of the first person Bonheur.

The most authoritative work is the , edited by Theodore Stanton (son of Elizabeth Cady Stanton), and published simultaneously in London and New York in 1910. This volume includes many correspondences between Bonheur and he's a family and friends, which gives a wider insight into the artist's life and his view of the art world and his art practices.

As a sign of how famous and good it is, 1905 Woman of the Painter (assembled and edited by Walter Shaw Sparrow) was given a subtitle "since the time of Caterina Vigri, 1413-1463, to Rosa Bonheur and today".

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Work timeline

• Plowing in Nivernais , 1849
• The Horse Fair , 1852-55
• The Highland Shepherd , 1859
• Family Deer , 1865
• Changing the meadow ( Changement de pÃÆ' Â ¢ turage ), 1868
• Spanish muleteers across the Pyrenees Muletiers espagnols traversent les Pyrà © à © nÃÆ'  © es ), 1875
• Weaning the Cow , 1879
• Hunting Relay , 1887
• William F. Cody Image , 1889
• The Monarch of thedd , 1868

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Selected works

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Other images

src: www.metmuseum.org

See also

• Rosa Bonheur Memorial Park
• Female artist

References

Resources

Further reading

• Dore Ashton, Rosa Bonheur: Life and Legend . Illustration and Description by Denise Browne Harethe. New York: Book Studio/The Viking Press, 1981 NYT Review

External links

• 20 Paintings by or after Rosa Bonheur on Art UK site
• Rosa Bonheur - Articlopedia search
• Biographical information of Rosa Bonheur - Rehs and her painting image Couching Lion , 1872
• Rosa Bonheur Plowing in Nivernais (1849). Video discussion of painting from smarthistory.khanacademy.org
• "Life without Compromise" - Biography of Rosa Bonheur, artwork, and writing on Trivium Art History
• Art and the imperial city: New York, 1825-1861, exhibit catalog from the Metropolitan Art Museum (available online fully as PDF), containing material about Bonheur (see index)
• "Bonheur, Rosa, - 1822-1899." Library of Congress
• Rosa Bonheur in the American public collection, on the website of the French Hero Statue

Source of the article : Wikipedia