Early Development and Artistic Training
Bonheur was born in Bordeaux, Gironde, the oldest child in a family of artists. Her father Oscar-Raymond 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.
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. 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. 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.
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, Louis Léopold Robert, Salvatore Rosa and Karel Dujardin.
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. There she prepared detailed studies which she would later use as references for her paintings and sculptures. During this period, too, she also 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.
Read more about this topic: Rosa Bonheur
Famous quotes containing the words early, development, artistic and/or training:
“[My early stories] are the work of a living writer whom I know in a sense, but can never meet.”
—Elizabeth Bowen (1899–1973)
“The man, or the boy, in his development is psychologically deterred from incorporating serving characteristics by an easily observable fact: there are already people around who are clearly meant to serve and they are girls and women. To perform the activities these people are doing is to risk being, and being thought of, and thinking of oneself, as a woman. This has been made a terrifying prospect and has been made to constitute a major threat to masculine identity.”
—Jean Baker Miller (20th century)
“Surely knowledge of the natural world, knowledge of the human condition, knowledge of the nature and dynamics of society, knowledge of the past so that one may use it in experiencing the present and aspiring to the future—all of these, it would seem reasonable to suppose, are essential to an educated man. To these must be added another—knowledge of the products of our artistic heritage that mark the history of our esthetic wonder and delight.”
—Jerome S. Bruner (20th century)
“The Führer is always quite cheerful, cheerful with all his heart, when he is having tea with his friends during the night, or when he is training his dogs!”
—Martin Bormann (1900–1945)