April 15, 2013 <Back to Index>
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Pierre Étienne Théodore Rousseau (April 15, 1812 - December 22, 1867), French painter of the Barbizon school, was born in Paris, of a bourgeois family. At first he received a business training, but soon displayed aptitude for painting. Although his father regretted the decision at first, he became reconciled to his forsaking business, and throughout the artist's career (for he survived his son) was a sympathizer with him during his conflicts with the Paris Salon authorities. Théodore Rousseau shared the difficulties of the romantic painters of 1830 in securing for their pictures a place in the annual Paris exhibition. The influence of classically trained artists was against them, and not until 1848 was Rousseau presented adequately to the public. He had exhibited one or two unimportant works in the Salon of 1831 and 1834, but during 1836 his great work "La descente des vaches" was rejected by the vote of the classic painters; and from then until after the revolution of 1848 he was persistently refused. He was not without champions in the press, and with the title of "le grand refusé" he became known through the writings of Thoré, the critic who afterwards resided in England and wrote by the name Burger. During
these years of artistic exile Rousseau produced some of his best
pictures: "The Chestnut Avenue", "The Marsh in the Landes" (in the Louvre),
"Hoar - Frost" (in America); and during 1851, after the
reorganization of the Salon during 1848, he exhibited his masterpiece,
"The Edge of the Forest" (in the Louvre), a picture similar in
treatment to, but slightly varied in subject from, the composition
named "A Glade in the Forest of Fontainebleau", in the Wallace Collection at Hertford House, London. Until this period Rousseau had lived only occasionally at Barbizon,
but during 1848 he took up his residence in the forest village, and
spent most of his remaining days in the vicinity. He was now able to
obtain fair sums for his pictures (but only about one - tenth of their
value thirty years after his death), and the number of his admirers
increased. He was still ignored by the authorities, for while Narcisse Virgilio Diaz was made Chevalier of the Legion of Honour during
1851, Rousseau was left undecorated at this time, but was nominated and
awarded the Cross soon afterwards. He would eventually became an
Officer of the Legion of Honor. At
the Exposition Universelle of 1853, where all Rousseau's rejected
pictures of the previous twenty years were gathered together, his works
were acknowledged to form one of the best of the many splendid groups
there exhibited. But, after an unsuccessful sale of his works by
auction during 1861, he contemplated leaving Paris for Amsterdam or London, or even New York. Rousseau
then suffered a series of misfortunes. His wife, who had been a source
of constant anxiety for years, became almost hopelessly insane; his
aged father became dependent on him for pecuniary assistance; his
patrons were few. Moreoever, while he was temporarily absent with his
invalid wife, a youth living in his home (a friend of his family)
committed suicide in his Barbizon cottage; when he visited the Alps during 1863, making sketches of Mont Blanc, he became dangerously ill with inflammation of the lungs; and when he returned to Barbizon he suffered from insomnia and became gradually weakened. He
was elected president of the fine art jury for the 1867 Exposition;
however, his disappointment at being denied the better awards may have
affected his health, for during August he became paralyzed. He
recovered slightly, but was again attacked several times during the
autumn. Finally, during November, he died in the presence of his
lifelong friend, Jean - François Millet,
on December 22, 1867. Millet, the peasant painter, for whom Rousseau
had the greatest regard, had been much with him during the last years
of his life, and at his death Millet assumed charge of the insane wife. Rousseau's other friend and neighbor, Jules Dupré,
himself an eminent landscape painter of Barbizon, relates the
difficulty Rousseau experienced in knowing when his picture was
finished, and how he, Dupré, would sometimes take away from the
studio some canvas on which Rousseau was laboring too long. Rousseau
was a good friend to Diaz, teaching him how to paint trees, for until a
certain time of his career Diaz considered he could only paint figures.
Rousseau's
pictures are always grave in character, with an air of exquisite
melancholy. They are well finished when they profess to be completed
pictures, but Rousseau spent so much time developing his subjects that
his absolutely completed works are comparatively few. He left many
canvases with parts of the picture realized in detail and with the
remainder somewhat vague; and also a good number of sketches and
water color drawings. His pen work in monochrome on paper is rare.
There are a number of good pictures by him in the Louvre, and the
Wallace collection contains one of his most important Barbizon
pictures. There is also an example in the Ionides collection in London. |