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Rosa Bonheur

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<h1>ROSA BONHEUR</h1> BY FR. CRASTRE TRANSLATED FROM THE FRENCH BY FREDERIC TABER COOPER <hr class="chap" /> [Pg 11] <div class="figcenter"> <ANTIMG src="images/i011.jpg" width-obs="400" height-obs="463" alt="" /></div> <h2>CHILDHOOD AND YOUTH</h2> In 1821, a young painter of brilliant promise was living in Bordeaux. His name was Raymond Bonheur. But the fairies who presided at his birth omitted to endow him with riches, in addition to talent. The hardships of existence compelled him to relinquish his dreams of glory and to pursue the irksome task of earning his daily bread. The artist[Pg 12] became a drawing master and went the rounds of private lessons. Among his pupils he made the acquaintance of a young girl, Mlle. Sophie Marquis, as penniless as himself, but attractive and gentle, full of courage, and displaying exceptional ability in music. A similarity of tastes and opinions drew these two artistic natures toward each other. They fell in love, and the marriage service united their destinies. The young couple started upon married life with no other fortune than their mutual attachment and equal courage. He continued to teach drawing and she gave lessons in music. But before long she was forced to put an end to these lessons in order to devote herself to new duties. Indeed, it was less than a year after their marriage, namely on the 16th of March, 1822, that a little girl was born into the world: this little girl was Rosalie Bonheur, better known under the name of Rosa Bonheur. It is not surprising in such an artistic environment, that the child’s taste should have undergone a sort of obscure, yet undoubted impregnation. From the time that she began to understand, she heard art and nothing else discussed around her; her first uncertain steps were taken in her father’s studio, and her first playthings were a brush and a palette laden with colours. <div class="figcenter"> <ANTIMG id="i014" src="images/i014.jpg" width-obs="400" height-obs="490" alt="" /> PLATE II.—THE ASS (Rosa Bonheur Studio, at By) </div> <blockquote> Rosa Bonheur was inimitable in the art of seizing the expression on the face of an animal. Here, for instance, is a study of an ass which makes quite a charming picture. Note the admirable rendering of the animal’s attitude, which is half obstinacy and half resignation, while the worn-out body weighs so heavily on the shrunken legs! </blockquote> Rosalie could hardly walk before she was drawing and painting everywhere. Later on, she gave a spirited account of this: “I was not yet four years old when I conceived a veritable passion for drawing, and I bespattered the white walls as high as I could reach with my shapeless daubs: another great source of amusement was to cut objects out of paper. They were always the same, however: I would begin by making long paper ribbons, then with my scissors, I would cut out, in the first place, a shepherd, and after him a dog, and next a cow, and next a ship, and next a tree, invariably in the same order. I have spent many a long day at this pastime.” [Pg 13] [Pg 14] [Pg 15] [Pg 16] The Bonheurs had, at this time, formed a close friendship with a family by the name of Silvela, but the latter left Bordeaux in 1828 in order to assume the direction of an institute for boys in Paris. The separation did not break off their intercourse. They corresponded frequently and in every letter the Silvelas urged Raymond Bonheur to come and join them in Paris where, they said, he would find an easier and more remunerative way of employing his talent. These repeated appeals strongly tempted the man, but a journey to Paris, at this epoch, was not an easy matter. Besides, his family had increased to the extent of two more children: Auguste Bonheur, born in 1824, and Isidore Bonheur, born in 1827. At last, after much hesitation, he made up his mind to set forth alone to try his luck, prepared to return home if he did not succeed. He went directly to the Silvelas’ in the capacity of instructor of drawing; the families of some of the pupils took an interest in him and obtained him[Pg 17] opportunities. Geoffroy Saint-Hilaire, the great naturalist, entrusted him with the execution of a large number of plates for a natural history. If not a fortune, this was at least an assured living. Accordingly, Bonheur decided to transfer his entire household to Paris. They joined him in 1829 and were installed in the Rue Saint-Antoine. Little Rosa, who was then seven years old, was no sooner settled in Paris, than she was placed together with her brothers in a boys’ school which happened to be located in the same house where the Bonheurs lived. Being brought up with young boys of her own age, she acquired those boyish manners that she retained throughout life, and to which she owes, without the slightest doubt, that virile mark which was destined to characterize her painting. She used to go with her comrades, during recess, to play in the Place Royale. “I was the ring-leader in all[Pg 18] the games and I did not hesitate, when necessary, to use my fists.” The revolution of 1830 ensued and Rosa witnessed it develop beneath the windows of her father’s dwelling. These were evil hours and the Bonheur family suffered in consequence. Lessons became rarer and the pinch of poverty was felt within the household, which was forced to migrate again to No. 30 Rue des Tournelles, a large seventeenth century mansion, solemn and gloomy, of which Rosa must have retained the worst possible memories had it not chanced that it was here she acquired a little comrade, Mlle. Micas, who was destined to become, subsequently, her best friend. The years which followed were equally unfortunate for Raymond Bonheur: Paris had hardly recovered from the shock of the Revolution, when in 1832 the cholera made its appearance. There was no further question of lessons, for everyone[Pg 19] thought solely of his own safety; the rich fled from the city, the others remained closely housed in order to avoid the fatal contagion. To escape the scourge, Raymond Bonheur once more changed his dwelling and established himself in the Rue du Helder. Variable and impulsive by nature, the painter delighted in change. He was barely installed in the Rue du Helder when he left the new abode in order to move to Ménilmontant in the centre of a hotbed of Saint-Simonism, the doctrines of which he had enthusiastically espoused. In 1833, we find him installed on the Quai des Écoles. This year a great misfortune befell the family: Mme. Bonheur died and the painter found himself alone and burdened with the responsibility of feeding, tending, and bringing up four children, one of whom, Isabelle Bonheur, born in 1830, was only three years old. It was at this time that Raymond Bonheur became anxious to have Rosa, who was now eleven[Pg 20] years of age, acquire some vocation. Inasmuch as she had shown the most violent aversion to study in every school she had attended, her father fancied that perhaps business would be more to her taste. Accordingly he apprenticed her to a dressmaker. But the young girl showed no more inclination for sewing than for arithmetic and grammar. At the end of two weeks it became necessary to give up the experiment. Raymond Bonheur, who was absent all day long giving lessons, was absolutely bent upon finding some occupation for Rosa. He made one last attempt to send her to school; so he placed her with Mme. Gibert in the Rue de Reuilly. Rosa with her boyish manners and her incorrigible turbulence brought revolution into the peaceful precincts of the pension. She engaged her new comrades in games of mimic warfare, combats, cavalry charges across the flower-beds of the garden which was reduced to ruins before the end of the second day.[Pg 21] The principal in consternation returned the irrepressible amazon to her father. The latter, in very natural despair, allowed Rosa to stay at home, in the Rue des Tournelles, where he was newly established and where he had fitted up a studio. He even allowed the young girl free entry to the studio and gave her permission to sketch. She asked for nothing better. While her father scoured the city on his round of lessons, she would shut herself into the studio and work with desperate energy, taking in turn every object hanging on the walls for her models. One day on returning home, at the end of his day’s work, Raymond Bonheur discovered on the easel a little canvas representing a bunch of cherries, a well drawn canvas and excellently painted from nature. This was Rosa Bonheur’s first painting; it bore witness to a genuine artistic temperament. Her father was delighted, but he hid his pleasure. [Pg 22] “That is not so bad,” he allowed to Rosa. “Work seriously, and you may become an artist.” This word of encouragement set the young girl’s heart to pulsing with emotion. Then it needed only application and courage? She felt within her an energy that nothing could rebuff and an ambition that nothing could quench. Rosa Bonheur had found her path. <hr class="chap" /> <div style="break-after:column;"></div>

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