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Updated: June 27, 2025


It is only fifteen feet square, with a Brussels carpet, papered with brown, and hung with a lithograph of Rosa Bonheur's "Horse Fair," an engraved copy of Herring's "Village Blacksmith," and two smaller ones, of "The Stable" and "The Barn Yard," from the same artist. A table and bureau, spread with crotchet work, eight chairs and the bed, were all the furniture.

I drank coffee at Tortoni's. I visited the studio of Meissonier. I stood in the crowd that collected round Rosa Bonheur's "Horse Fair," which was in the Salon that year. I grew dead sick of the endless galleries of the Louvre.

Again she wonders how geography, grammar, and spelling can be made to function in such a painting as Rosa Bonheur's "The Plough Oxen," and her wonder serves to invest these subjects with new meaning and power.

I have seen drawings of groups of cattle by her that, without the advantage of color, recall the life and spirit of Rosa Bonheur's pictures. She was a perfect Italian scholar, having studied enthusiastically that divine tongue with the enthusiast Ugo Foscolo, whose patriotic exile and misfortunes were cheered and soothed by the admiring friendship and cordial kindness of Lord and Lady Dacre.

Fine cattle and poultry of all kinds, heavy wheat-crops, and well-stored corn-cribs engrossed his thoughts, to the entire exclusion of abstract æsthetic speculation, of operatic music, and Pre-Raphaelitism; while the sight of one of his silky short-horned Ayrshires yielded him infinitely more pleasure than the possession of all Rosa Bonheur's ideals could possibly have done, and the soft billowy stretch of his favorite clover-meadow was worth all the canvas that Claude or Poussin had ever colored.

Lady Butler, however, thought she could do more than to sentimentalise with De Neuville's soldiers. She adopted his method, and from this same standpoint tried to do better; her attitude towards him was the same as Rosa Bonheur's towards Troyon; and the failure of Lady Butler was even greater than Rosa Bonheur's.

Blackburn, in his entertaining book, "Artists and Arabs," draws a contrast between Frith's painting of the "Derby Day" and Rosa Bonheur's "Horse Fair," "the former pleasing the eye by its cleverness and prettiness, the latter impressing the spectator by its power and its truthful rendering of animal life.

Some latent, unconscious jar of thought brought suddenly before me a scene of many years before, a damp spring morning in Paris, when I had gone to Rosa Bonheur's studio, just out of the city, to see her "Horse-Fair": the moist smell of jonquils; the drifting light clouds above the Seine, like patches of wool; but most, the peculiar life that seemed to impregnate the place itself, holding her, as it were, to her own precise niche and work in the world, the sharply managed lights, the skins, trappings, her disguises on the walls, the stables outside, and the finished work before us, instinct with vigor and an observation as patient as keen.

Here he turned to the left, followed some narrow thoroughfares, and stopped at the great horse market, a scene familiarized to Americans, in its general features, by Rosa Bonheur's "La Foire du Chevaux." Double rows of stalls enclosed a trotting course, roughly paved, and there was an artificial hill on one side, where draught-horses were tested.

The spirit which found in them its first expression is continually increasing in power, and developing into richer life. The living artists of France are the exponents of her genuine Christian democracy. "The entire collection of Rosa Bonheur's works," says a French writer, "might be called the Hymn to Labor.

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