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Rosa Bonheur, born Marie-Rosalie Bonheur, (16 March 1822 – 25 May 1899) was a French animalière, realist artist, and sculptor. As a painter she became famous primarily for two chief works: ''Ploughing in the Nivernais'',〔(【引用サイトリンク】title=Musée d'Orsay: Rosa Bonheur Labourage nivernais )〕 which was first exhibited at the Paris Salon of 1848, and is now in the Musée d’Orsay in Paris, depicts a team of oxen ploughing a field while attended by peasants set against a vast pastoral landscape; and ''The Horse Fair'' (in French: ''Le marché aux chevaux''),〔(Rosa Bonheur, ''The Horse Fair'', Metropolitan Museum of Art )〕 which was exhibited at the Salon of 1853 (finished in 1855) and is now in the Metropolitan Museum of Art, in New York City. Bonheur is widely considered to have been the most famous female painter of the nineteenth century.〔Janson, H. W., Janson, Anthony F. ''History of Art''. Harry N. Abrams, Inc., Publishers. 6th edition. ISBN 0-13-182895-9, page 674.〕 ==Early development and artistic training== Marie-Rosalie Bonheur was born on 16 March 1822 in Bordeaux, Gironde, the oldest child in a family of artists.〔Kuiper, Kathleen. ("Rosa Bonheur" ), ''Encyclopedia Britannica Online'', Retrieved 23 May 2015.〕 Her father Oscar-Raymond Bonheur was a landscape and portrait painter who became a friend of Francisco Goya when Goya was living in exile in Bordeaux in the 1820s. Oscar-Raymond was 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.〔Galton, Francis. ''Hereditary Genius: An Inquiry into its Laws and Consequences''. Second edition. (London: MacMillan and Co, 1892), p. 247. Original 1869.〕 Bonheur 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. However even before she could talk she would sketch for hours at a time with pencil and paper.〔Mackay, James, ''The Animaliers'', E.P. Dutton, Inc., New York, 1973〕 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.〔Rosalia Shriver, ''Rosa Bonheur: With a Checklist of Works in American Collections'' (Philadelphia: Art Alliance Press, 1982) 2-12. (It must be said that, as a reference source this book is itself riddled with inaccuracies and mis-attributions but it accords with the consensus account on this matter.)〕 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 expelled from numerous schools.〔Theodore Stanton, Reminiscences of Rosa Bonheur (New York: D. Appleton and company, 1910), Theodore Stanton, Reminiscences of Rosa Bonheur (London: Andrew Melrose, 1910).〕 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 near Levallois-Perret 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, Frans Pourbus the Younger, Louis Léopold Robert, Salvatore Rosa and Karel Dujardin.〔Boime, Albert. "The Case of Rosa Bonheur: Why Should a Woman Want to be More Like a Man?", ''Art History'' v. 4, December 1981, p. 384-409.〕 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.〔(''Wild Spirit: The Work of Rosa Bonheur'' ) by Jen Longshaw〕 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.〔Ashton, Dore and Denise Browne Hare. ''Rosa Bonheur: A Life and a Legend'', (New York: Viking, 1981, 206pp.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Rosa Bonheur」の詳細全文を読む スポンサード リンク
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