COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0000276
image_record_id
aahi0000276
Image Record ID
false
Work Title (display):
Self-Portrait (?)
Image Title:
full view
Work Dates (display):
ca. 1860-1865
Work Dates type:
creation
Work Creator (display):
Rosa Bonheur (French, 1822-1899)
Work Creator gender:
female
work_creator_or_agent_gender
female
Work Creator gender
false
Work Creator notes (display):
French painter and sculptor. She received her training from her father, Raymond Bonheur (d 1849), an artist and ardent Saint-Simonian who encouraged her artistic career and independence. Precocious and talented, she began making copies in the Louvre at the age of 14 and first exhibited at the Salon in 1841. Her sympathetic portrayal of animals was influenced by prevailing trends in natural history (e.g. Etienne Geoffroy Saint-Hilaire) and her deep affinity for animals, especially horses. Bonheur's art, as part of the Realist current that emerged in the 1840s, was grounded in direct observation of nature and meticulous draughtsmanship. She kept a small menagerie, frequented slaughterhouses and dissected animals to gain anatomical knowledge. Although painting was her primary medium, she also sculpted, or modelled, studies of animals, several of which were exhibited at the Salons, including a bronze Study for a Bull (1843; ex-artist's col., see Roger-Milès, p. 35) and Sheep (bronze; San Francisco, CA, de Young Mem. Mus.). In 1845 she attracted favourable notice at the Salon from Théophile Thoré. In 1848 she received a lucrative commission from the State for Ploughing in the Nivernais (1849; Paris, Mus. d'Orsay), which, when exhibited the next year, brought her further critical and popular acclaim. Typical of the Realist interest in rural society manifested in the contemporary works of Gustave Courbet and Jean-François Millet, Ploughing was inspired by George Sand's rustic novel La Mare au diable (1846). She exhibited regularly at the Salon until 1855. Her paintings sold well and were especially popular in Great Britain and the USA. Bonheur's masterpiece, the Horse Fair (1853; New York, Met.), which is based on numerous drawings done at the horse market near La Salpetrière, was inspired by the Parthenon marbles (London, BM) and the works of Théodore Gericault. This immense canvas (2.45×4.07 m) combines her Realist preoccupation with anatomical accuracy and a Romantic sensitivity to colour and dramatic movement rarely found in her work. After its triumphant showing at the Paris Salon, the painting went on tour in Great Britain and the USA and was widely disseminated as a print. In 1887 Cornelius Vanderbilt purchased the Horse Fair for £53,000 and donated it to the newly founded Metropolitan Museum of Art, New York. After 1860 Bonheur withdrew from the Paris art world and settled in the Château de By on the outskirts of the Forest of Fontainebleau with her companion, Nathalie Micas. Independent and financially secure, she painted steadily and entertained such celebrities as the Empress Eugénie and Buffalo Bill, whose portrait she painted in 1889 (Cody, WY, Buffalo Bill Hist. Cent.). In favour at court, Bonheur received the Légion d'honneur from the Empress Eugénie in 1865, the first woman artist to be so honoured. Although she enjoyed widespread renown during her lifetime, she was not universally admired by contemporary critics. Her spectacular success in Great Britain, her eccentric lifestyle and her militant feminism no doubt contributed to her mixed critical reception at home. Bonheur, who wore her hair short, smoked and worked in masculine attire, was a nonconformist who transcended gender categories and painted, according to various critics, like a man. After her English tour in 1856 she adopted a more detailed realistic manner, influenced perhaps by Edwin Landseer, though her style evolved little during her long career. She never abandoned her strict technical procedures and was unaffected by contemporary artistic trends. Her reputation declined after her death but has been revived in the 20th century by feminist art historians. Bonheur was devastated by the death of Micas, her lifelong companion, in 1889. Her final years were brightened by Anna Klumpke (18561942), a young American portrait painter who was her biographer and her sole heir when Bonheur died in May 1899. In 1901 the town of Fontainebleau erected a monument in honour of Bonheur that was melted down during the German occupation of World War II. Her studio at the Château de By in Thomery has been restored and is open to the public. (Grove Art Online Accessed 2006-07-25)
Work Creator Attribution (display):
attributed to Rosa Bonheur
Work Style Period:
Realist (modern European fine arts styles)
work_styleperiod
Realist (modern European fine arts styles)
Work Style Period
false
Work Style Period:
19th century
work_styleperiod
19th century
Work Style Period
false
Work Subject:
women (female humans)
subject
women (female humans)
Work Subject
false
Work Subject:
artists (visual artists)
subject
artists (visual artists)
Work Subject
false
Work Subject:
self-portraits
subject
self-portraits
Work Subject
false
Work Subject:
portraits
subject
portraits
Work Subject
false
Work Worktype:
oil paintings
work_type
oil paintings
Work Worktype
false
Work Worktype:
paintings (visual works)
work_type
paintings (visual works)
Work Worktype
false
Work Category (VRC classification):
paintings
work_category__ucbaahvrc_classification_
paintings
Work Category (VRC classification)
false
Work Material and Technique (display):
oil on canvas
Work Measurements (display):
134cm (H) x 60 cm (W)
Work Location (Repository or Site) name:
Galleria degli Uffizi
Work Location (Repository or Site) role:
repository
Work Location (Geographic) name:
Florence, Italy
Image Rights (display):
© Ronald Wiedenhoeft. Licensed for educational use via Scholars Resource: Saskia, Ltd.
Image Rights license agreement:
SASKIA, LTD.: WHO CAN USE THIS SOFTWARE: (a) Licensee, including faculty, staff and currently enrolled students may use the Licensed Software to display and or print the corresponding graphic images without limitation for teaching and research purposes at the defined Sites, or at remote locations having electronic access to your Site(s). (b) This license include permission to use the Licensed Software on a multi-user network at the defined Site, and to permit remote access to a computer/server located at your Site. Simultaneous display in multiple locations at or connected to the Site is also permitted. (c) Licensee agrees to employ reasonable security measures designed to limit access to your faculty, staff and currently enrolled students. PROHIBITED USES AND LIMITATIONS: (a) Saskia hereby reserves all rights not expressly granted herein. (b) the License Software may not be used for preparaiton of any publication, scholarly or otherwise; or for any purpose other than teaching or research. Publication of an image from the Licensed Software requires a separate license from Saskia. (c) Licensee agrees not to resell, lease, transfer, sub-license or otherwise distribute a copy of the Licensed Software, or any image taken from the Licensed Software, in whole or in part. (d) Licensee also agrees not to modify, corrupt or alter any digital image graphic content or "digital watermark" or the like in the software provided by Saskia under this Agreement. (e) Licensee agrees not to remove, alter, cover or distort Saskia's copyright notice, trademark, or other proprietary rights notice placed by Saskia in the Licensed Software itself, or in the associated packaging, media or documentation. (f) And Licensee agrees to notify users of the Licensed Software, in writing or by sign-on screen display, of their obligations under this Agreement and solicit their cooperation and compliance with such obligations.
Work Rights (display):
public domain
Terms of Agreement and Conditions of Use:
YOU AGREE: Luna Imaging's Insight Software and the digital image collection associated with it (the Software) are being provided by the University of Colorado under the following license. By obtaining, using, and/or copying this work, you (the Licensee) agree that you have read, understood, and will comply with the following terms and conditions. 1. The Software contains the University of Colorado's Department of Art and Art History's implementation of a digital image collection; 2. Any images obtained through use of the Software will be used only for non-profit, educational purposes; 3. The use of images obtained through the software will only be used while the Licensee is either: a) an employee of the University of Colorado, Metropolitan State College of Denver, or the Community College of Denver, or b) an enrolled student at the University of Colorado, Metropolitan State College of Denver, or the Community College of Denver; 4. When the Licensee is no longer an employee or student of the University of Colorado, Metropolitan State College of Denver or Community College of Denver, either by an action of the University of Colorado, Metropolitan State College of Denver or the Community College of Denver or due to actions of the Licensee, the licensee will cease to use any images exported from the Department of Art and Art History's digital image collection; 5. The Licensee agrees to indemnify the University for claims and liability arising out of the use of the Software or for any violations of this license; 6. THE UNIVERSITY OF COLORADO SUPPLIES THE SOFTWARE WITHOUT ANY WARRANTIES, EXPRESS OR IMPLIED, INCLUDING ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.
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Holding Institution:
University of Colorado at Boulder
Collection:
Art and Art History Visual Resources Center
Collection info and contact:
For information about this collection, see