No Ordinary Woman: Rosa Bonheur, France’s Greatest Painter of Animals

Auguste Bonheur bordeaux-portrait of Rosa Bonheur 1848

Auguste Bonheur, Portrait of Rosa Bonheur, 1848, oil on canvas, 130.5 x 98.3 cm, Musée des Beaux-Arts, Bordeaux, Photo © F. Deval

 

Publisher: Icon Books Ltd
Due Out 2019
Language: English

 

Due Out 2019

Rosa Bonheur Ploughing in the Nivernais RMN

Rosa Bonheur, Ploughing in the Nivernais, 1849, oil on canvas, 134 x 260 cm, Musée d’Orsay, Paris, Photo © RMN – Grand Palais

Rosa Bonheur was the very antithesis of 19th-century society’s feminine ideal. She was educated, she shunned traditionally ‘feminine’ pursuits, she rejected marriage and she wore trousers. But exceptionally, the society whose rules she spurned accepted her – because by the mid-19th century, Bonheur was perhaps the greatest painter of animals France had ever seen.

Rosa was born into a family of artists and her father subscribed to Saint-Simonian principles, meaning that he believed in equal education for the sexes – this at a time when many girls were only taught domestic skills. Rosa learned to draw and read at home, but at school she was an unruly child. When a sewing apprenticeship failed, her father began training her as an artist. And once she started producing paintings of animals, her talent astonished those around her.

In the eyes of 19th-century society, Rosa represented a bewildering paradox. That a member of the fairer sex could produce such powerful paintings was extraordinary; but for a girl who seemed so unfeminine to do so using the most delicate touch and sensitive observation was positively astounding. Rosa began training in earnest. She even insisted on carrying out dissections with veterinary colleagues in order to understand animal anatomy – such a thing was unheard of for a woman and considered deeply shocking. However, Rosa’s artistic skill soon attracted attention, and in 1848 she received a government commission for an enormous painting entitled Ploughing in the Nivernais (1849). This first great success launched her career and in 1853, she exhibited the painting which would secure her renown, The Horse Fair. She became famous in France and abroad, and began accumulating awards and commendations. She was made Chevalier de la Légion d’honneur in 1865 and was then promoted to Officier de la Légion d’honneur in 1894, making her the first woman ever to have held this distinguished title. Her fame even took her to England and Scotland, where she met John Ruskin and Queen Victoria, who was a great admirer, requested a private viewing of her work.

But despite her professional prestige, Rosa’s lifestyle remained firmly at odds with 19th-century social mores. Though her art was conservative, her personal life was radical. She shared an intimate relationship with the eccentric, self-styled inventor Nathalie Micas, who nurtured the artist like a wife. Together Rosa, Nathalie and Nathalie’s mother bought a château on the edge of the Fontainebleau forest, and with Rosa’s menagerie of animals, Nathalie’s outlandish inventions and Mme Micas’s experimental cooking, the trio became one of the most extraordinary households of the day. When Nathalie died, Rosa fell into a similar relationship with American artist Anna Klumpke, whom she openly referred to as her ‘wife’.

Using Rosa’s letters, memoirs and primary sources, this biography peels away the layers of the stalwart facade to reveal a woman of profound sensitivity and quick wit, a kind and modest soul whose principal passion besides her art was the animals she painted. It tells of an unconventional childhood, a single father struggling to raise his children with an enlightened but misunderstood educational philosophy, a child’s emotional torment at losing her mother and having to welcome a stepmother, the taunting she received when she went to work in the slaughterhouses, the anxiety ahead of big exhibitions, the bewilderment at celebrity and aversion to fame, the devastation when she lost her true love and the painful, continued jibes on account of her uncertain gender – ‘it is not very flattering to appear a man when one is a woman,’ one of her contemporaries remarked.

No Ordinary Woman explores what it meant to be a genius trapped in a body for which a gendered society predestined a subordinate role and the more modest pursuit of homemaking. It is a tale of passion and creativity, family and friendship, of one woman’s determination to do what she loved – and her refusal to compromise, whatever the cost.

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