Bonheur, Plowing in the Nivernais

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Bonheur, Plowing in the Nivernais발음듣기

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We're in the Musée d'Orsay and we're looking at Rosa Bonheur's light filled painting called 'Plowing in the Nivernais.'발음듣기

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That refers to both the region and the kind of oxen that are the stars of this canvas. They are.발음듣기

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The human figure that pushes them along is hardly important.발음듣기

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So Rosa Bonheur did some extraordinary things.발음듣기

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She was an incredibly precocious girl.발음듣기

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I think it was at age fourteen that she was actually sketching in the Louvre and actually creating oil paintings.발음듣기

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This was possible because her father was an artist and had really encouraged her.발음듣기

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I think that they were very liberal.발음듣기

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Otherwise she would not have had her enormous artistic talent encouraged.발음듣기

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She might not've ended up a painter at all.발음듣기

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So this was made in 1849 which is just one year after the revolution and so interesting that an artist now is moving out into the countryside, away from all of the chaos of the city - Where the revolution happened--발음듣기

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And we have this incredible image of these oxen turning the soil in the fall to prepare it for the following year's season and look at the soil itself.발음듣기

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You almost get the sense that here's the strength of France.발음듣기

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The earth looks incredibly rich and fertile.발음듣기

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So there is a sense of a kind of nationalistic idea of the French countryside and that France will survive and indeed thrive.발음듣기

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And those oxen are so powerful and so beautiful and, in a sense, so eternal.발음듣기

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You know, this is a ritual that has gone on long before the politics of the modern world.발음듣기

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And will continue long after.발음듣기

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They come forward in a receding diagonal that moves into our space so that we have this sense of depth and atmospheric perspective and sense of weather and the warmth of the sunlight...발음듣기

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It's really so particularly and carefully observed and it reminds me so much that we see of the 1840s and then into the 1850s of this interest in rural life, of laborers, of the virtues of the countryside.발음듣기

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Yeah, when I look at this, the oxen, those backs are so beautifully aligned, they almost create their own horizon like the hills beside them and so, in a sense, they are the earth itself.발음듣기

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There is this sense of permanence.발음듣기

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I think throughout the 1840s, especially with the kind of industrialization and growth of the cities that's taking places that there is this real desire to return to this much more basic truth.발음듣기

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Which resides in nature and the countryside.발음듣기

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And in labor itself but in a kind of simple, very direct kind of labor.발음듣기

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So do you think that Rosa Bonheur is giving us a conservative vision at this moment just after a very radical revolution of 1848 that brings the working class into power in a significant way?발음듣기

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I think that there are conservative aspects here but it's more complicated than that.발음듣기

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She's breaking too many boundaries.발음듣기

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She's emphasizing the importance of landscape, of animal painting itself, on a scale that is often reserved for history painting.발음듣기

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She's a woman not painting interiors, not painting as an amateur but is painting at the level of the highest professional.발음듣기

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These are radical ideas and I don't think that we can see this as conservative painting.발음듣기

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And really remarkable accomplishments.발음듣기

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