The beauty of the natural world through Rosa Bonheur

The text below is the excerpt from the book Rosa Bonheur (ISBN: 9781639197880), written by Vicky Charles, published by Parkstone International.

Rosa Bonheur didn’t just create art, she lived it. Every stroke of her brush breathed life into her canvas, each meticulous detail a testament to her unyielding dedication and passion. Her character was reflected in her artwork, as raw and vibrant as her spirit, echoing her unwavering strength and masculinity.

Her paintings were not gentle whispers of femininity, they roared with assertiveness and confidence. Each piece was solid in outline, radiating with rich and bold colours, translating the depth of her profound understanding of her subjects. Her artwork was not merely an aesthetic treat, but a representation of her deep, innate knowledge, often overlooked due to the accessible nature of her work.

The art of Bonheur, especially her animal paintings, bridged the gap between the connoisseur and the layman. Whether it was a horse, a dog, a cow, or a sheep, even the most untrained eye could appreciate the authenticity of her work. Even a farmer who knew more about pigs than painting could appreciate her art, as was the case when one pointed out a detail in Gainsborough’s picture of The Girl and Pigs which led to the painter adopting his suggestion.

The universal appeal of her animal paintings was undeniable. The intricate detailing and accurate representation of animal expressions and postures resonated with people from all walks of life, contributing to her popular success.

Delving into the life of Bonheur, we uncover a woman of defiant personality, an artist who defied societal norms and expectations to live her truth. Born in an era when women were often confined to domestic roles, Bonheur refused to be constrained. With her father’s support, she began to paint prolifically from her early teenage years, and by mid-career, she had been awarded prestigious accolades previously only bestowed upon men. She lived her life independently, her craft serving as her sole source of income. She also rejected typical female attire and obtained a police permit to wear men’s clothes while she worked.

Bonheur’s art was not just her livelihood, it was her life. It was an expression of her liberal outlook, a reflection of her defiance against gender and class stereotypes, and a medium through which she championed equality. Her art spoke not just to the eyes, but to the soul, subtly conveying a moral lesson that even animals have souls and deserve attention, care, and visibility. In this sense, Bonheur was not merely an artist but a visionary, her paintings a call for a world where boundaries and binary definitions are entirely dissolved.

In the fascinating realm of art, the ceaseless exploration and observance needed to achieve artistic veracity often remain unappreciated. The works of any animal painter invariably draw comparisons with Dutch masters like Cuyp and Paul Potter; Rosa Bonheur‘s artistry found no exception, yet it held up under scrutiny, matching the lofty standards set by these great Dutchmen.

However, a closer comparison with her notable contemporary, Constant Troyon, provided an interesting contrast. Troyon, celebrated as the finest animal painter of the nineteenth century, was an artist of genius, while Rosa Bonheur’s prodigious talent was undeniable. Where Troyon’s results stemmed from inspiration, Rosa Bonheur achieved hers through a combination of immense diligence and sheer determination.

With Troyon’s unfortunate demise in 1865, Bonheur was thrust into the limelight. The suggestion that she sought to occupy his position has circulated, but there is no evidence to back this claim. Rather, it seems that she naturally emerged as the leading animal painter in France, because no other artist in that genre could match her brilliance.

In the nineteenth century, Brascassat made a name for himself by placing his subjects in intricate landscapes, but his popularity faded long before Troyon’s demise. Outside of France, Landseer was the only serious contender to Rosa Bonheur’s fame. Yet, his style was different, setting his work on a different artistic plane.

As acclaimed German critic Richard Müther observed, Rosa Bonheur possessed qualities that were universally appreciated. He noted her anatomical knowledge, deft technique, and captivating use of colour. Indeed, even without formal artistic training, anyone can appreciate masterpieces such as The Pensive Lion, The Lion Roaring, or Oxen under the Yoke. Her accurate representation of nature wasn’t an overnight achievement but a result of persistent study spanning many years.

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