See also:painting . Although his
See also:father regretted the decision at first, he became reconciled to his son Paving business, and throughout the artist's career (for he survived his son) was a sympathizer with him in all his conflicts with the
See also:Salon authorities .
See also:Rousseau shared the difficulties of the romantic painters of 183o in securing for their pictures a place in the
See also:exhibition . The whole influence of the classically trained artists was against them, and not until 1848 was Rousseau adequately presented to the public . He had exhibited one or two unimportant
See also:works in the Salon of 1831 and 1834, but in 1836 his
See also:work " La Descente
See also:des vaches " was rejected by the
See also: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
See also:press, and under the title of " le
See also:grand refuse " he became known through the writings of Thore, the critic who afterwards resided in England and wrote under the name of
See also:Burger . During these years of
See also:exile Rousseau produced some of his finest pictures: " The
See also:Chestnut Avenue," " The
See also:Marsh in the
See also:Landes " (now in the Louvre), "
See also:Frost " (now in
See also:America) ; and in 1851, after the reorganization of the Salon in 1848, he exhibited his masterpiece, " The Edge of the
See also:Forest " (also in the Louvre), a picture similar in treatment to, but slightly varied in subject from, the composition called " A Glade in the Forest of
See also:Fontainebleau," in the
See also:Wallace collection at Hertford
See also:House . Up to this
See also:period Rousseau had lived only occasionally at
See also:Barbizon, but in 1848 he took up his residence in the forest
See also:village, and spent most of his remaining days in the vicinity . He was now at the height of his artistic power, and was able to obtain
See also:fair sums for his pictures (but only about one-tenth of their value
See also:thirty years after his
See also:death), and his circle of admirers increased . He was still ignored by the authorities, for while Diaz was made Chevalier of the
See also:Legion of
See also:Honour in 1851, Rousseau was
See also:left undecorated at this
See also:time, but was nominated shortly afterwards . At the Exposition Universelle of 1855, where all Rousseau's rejected pictures of the previous twenty years were gathered together, his works were acknowledged to
See also:form one of the finest of the many splendid groups there exhibited . But during his lifetime Rousseau never really conquered French taste, and after an unsuccessful sale of his works by
See also:auction in 1861, he contemplated leaving Paris for Amsterdam or
See also:London, or even New
See also:York .
Misfortune then overtook him: his wife, who had been a source of
See also:constant anxiety for years, became almost hopelessly insane; his aged father looked constantly to 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
See also:family) committed suicide in his Barbizon cottage; when he visited the
See also:Alps in 1863, making sketches of Mont Blanc, he fell dangerously
See also:ill with inflammation of the lungs; and when he returned to Barbizon he suffered from
See also:insomnia and became gradually weakened . He was elected
See also:president of the
See also:jury for the 1867 Exposition . His disappointment at being passed over in the distribution of the higher awards told seriously on his
See also:health, and in
See also:August he was seized with
See also:paralysis . He slightly recovered, but was again attacked several times during the autumn . Finally, in
See also:November, he began to sink, and he died, in the presence of his lifelong friend, J . F .
See also:Millet, on the 22nd of
See also:December 1867 . Rousseau's other friend and neighbour, Jules
See also:Dupre, himself an eminent landscape painter of Barbizon, relates the difficulty Rousseau experienced in knowing when his picture was finished, and how he, Dupre, would sometimes take away from the studio some
See also:canvas on which Rousseau was labouring too long . Millet, the
See also:peasant painter, for whom Rousseau had the highest regard, was much with him during the last years of his
See also:life, and at his death Millet took
See also:charge of the insanewife . Rousseau was a
See also:good friend to Diaz, teaching him how to paint trees, for up to a certain point in his career Diaz considered he could only paint figures . Rousseau's pictures are always
See also:grave in character, with an air of exquisite melancholy which is powerfully attractive to the
See also:lover of landscapes .
They are well finished when they profess to be completed pictures, but Rousseau spent so long a time in working up 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
See also:remainder somewhat vague; and also a good number of sketches and
See also:colour drawings . His
See also:pen work in monochrome on paper is rare; it is particularly searching in quality . There are a number of fine 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 at the
See also:Victoria and
See also:Albert Museum . (D . C .
JEAN JACQUES ROUSSEAU (1712-1778)
There are no comments yet for this article.
Do not copy, download, transfer, or otherwise replicate the site content in whole or in part.
Links to articles and home page are encouraged.