:Rosa Bonheur

Bonheur was born on 16 March 1822 in Bordeaux, Gironde, the oldest child in a family of artists.Kuiper, Kathleen. [http://www.britannica.com/EBchecked/topic/73033/Rosa-Bonheur "Rosa Bonheur"], Encyclopædia Britannica Online, Retrieved 23 May 2015. Her mother was Sophie Bonheur (née Marquis), a piano teacher; she died when Rosa was eleven. Her father was Oscar-Raymond Bonheur, a landscape and portrait painter who encouraged his daughter's artistic talents.{{cite book |title=Bonheur, (Marie-)Rosa [Rosalie] |author=Heather McPherson |date=2003 |website=Grove Art Online |doi=10.1093/gao/9781884446054.article.T009871 |chapter-url=http://www.groveart.com/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000009871 |chapter=Bonheur, (Marie-)Rosa |isbn=9781884446054 }} Though of Jewish origin,{{cite news|url=https://jewishcurrents.org/jewdayo-grid/may-25-the-realism-of-rosa-bonheur/|title=The Realism of Rosa Bonheur|date=24 May 2016|first=Lawrence|last=Bus|newspaper=Jewish Currents|archive-url=https://web.archive.org/web/20190110073721/https://jewishcurrents.org/jewdayo-grid/may-25-the-realism-of-rosa-bonheur/|access-date=9 January 2019|archive-date=10 January 2019}} the Bonheur family adhered to Saint-Simonianism, a Christian socialist sect that promoted the education of women alongside men. Bonheur's siblings included the animal painters Auguste Bonheur and Juliette Bonheur, as well as the animal sculptor Isidore Jules Bonheur. Francis Galton used the Bonheurs as an example of the eponymous "Hereditary Genius" in his 1869 essay.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 siblings, after her father had gone ahead of them to establish a residence and income there. By family accounts, she had been an unruly child and had a difficult time learning to read, though she would sketch for hours at a time with pencil and paper before she learned to talk.Mackay, James, The Animaliers, E.P. Dutton, Inc., New York, 1973 Her mother taught her to read and write by asking her to choose and draw a different 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.) The artist credited her love of drawing animals to these reading lessons with her mother.{{Cite book |last=Klumpke |first=Anna |title=Rosa Bonheur: The Artist's [Auto] Biography |publisher=The University of Michigan Press |year=2001 |isbn=9780472088423 |location=Ann Arbor |pages=87 |language=English}}

At school she was often disruptive, and was expelled numerous times.Theodore Stanton, Reminiscences of Rosa Bonheur (New York: D. Appleton and company, 1910), Theodore Stanton, Reminiscences of Rosa Bonheur (London: Andrew Melrose, 1910). After a failed apprenticeship with a seamstress at the age of twelve, her father undertook her training as a painter. Her father allowed her to pursue her interest in painting animals by bringing live animals to the family's studio for studying.{{cite book |title=Dictionary of Women Artists |volume=I |year=1997 |editor-first=Delia |editor-last=Gaze |publisher=Fitzroy Dearborn Publishers |location=London and Chicago |isbn=978-1-884964-21-3 |pages=[https://archive.org/details/dictionaryofwome01gaze/page/288 288–291] |title-link=Dictionary of Women Artists }}

Image:Rosa Bonheur, The Horse Fair, 1852–55.jpg (1852–55; Metropolitan Museum of Art)]]

Following the traditional art school curriculum of the period, Bonheur began her training by copying images from drawing books and by sketching plaster models. As her training progressed, she made studies of domesticated animals, including horses, sheep, cows, goats, rabbits and other animals in the pastures around the perimeter of Paris, the open fields of Villiers near Levallois-Perret, and the still-wild Bois de Boulogne.Boime, Albert. [http://onlinelibrary.wiley.com/doi/10.1111/j.1467-8365.1981.tb00733.x/abstract "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. At fourteen, she began to copy paintings at the Louvre. Among her favorite painters were Nicolas Poussin and Peter Paul Rubens, though she also copied the paintings of Paulus Potter, Frans Pourbus the Younger, Louis Léopold Robert, Salvatore Rosa and Karel Dujardin.

She studied animal anatomy and osteology in the abattoirs of Paris and dissected animals at the École nationale vétérinaire d'Alfort, the National Veterinary Institute in Paris.[https://web.archive.org/web/20060318082250/http://www.passionforpaint.com/RosaBonheur.html Wild Spirit: The Work of Rosa Bonheur] by Jen Longshaw There she prepared detailed studies that she later used as references for her paintings and sculptures. During this period, she befriended the father-and-son comparative anatomists and zoologists, Étienne Geoffroy Saint-Hilaire and Isidore Geoffroy Saint-Hilaire.Ashton, Dore and Denise Browne Hare. Rosa Bonheur: A Life and a Legend, (New York: Viking, 1981, 206pp.

File:Rosa Bonheur - Ploughing in Nevers - Google Art Project.jpg, Musée d'Orsay]]

A French government commission led to Bonheur's first great success, Ploughing in the Nivernais, exhibited in 1849 and now in the Musée d'Orsay in Paris.{{Cite web|url=http://www.musee-orsay.fr/fr/collections/oeuvres-commentees/recherche/commentaire/commentaire_id/labourage-nivernais-31.html|title=Rosa Bonheur: Labourage nivernais|publisher=Musée d'Orsay|access-date=24 October 2014|archive-date=4 April 2019|archive-url=https://web.archive.org/web/20190404021133/https://www.musee-orsay.fr/fr/collections/oeuvres-commentees/recherche/commentaire/commentaire_id/labourage-nivernais-31.html|url-status=dead}} Her most famous work, the monumental The Horse Fair, was completed in 1855 and measured {{convert|8|by|16|ft|m|spell=in}}.{{cite web |url=http://www.albrightknox.org/ArtStart/Bonheur.html |title=The Horse Fair at Albright Knox Gallery |archive-url=https://web.archive.org/web/20070625055221/http://www.albrightknox.org/ArtStart/Bonheur.html |archive-date=25 June 2007 |access-date=27 October 2018}}, sketch for the London version; the sketch for the New York version is in the Ludwig Nissen Foundation, see: C. Steckner, in: Bilder aus der Neuen und Alten Welt. Die Sammlung des Diamantenhändlers Ludwig Nissen, 1993, p. 142 and [http://www.spaeth.net/galerie/bonheur.htm spaeth.net] {{webarchive|url=https://web.archive.org/web/20041010000054/http://www.spaeth.net/galerie/bonheur.htm |date=10 October 2004 }} It depicts the horse market held in Paris, on the tree-lined boulevard de l'Hôpital, near the Pitié-Salpêtrière Hospital, which is visible in the painting's background. There is a reduced version in the National Gallery in London.[https://www.nationalgallery.org.uk/paintings/rosa-bonheur-the-horse-fair The Horse Fair], National Gallery This work led to international fame and recognition; that same year she traveled to Scotland and met Queen Victoria, who admired Bonheur's work. In Scotland, she completed sketches for later works including [https://www.arthistoryproject.com/artists/rosa-bonheur/the-highland-shepherd/ Highland Shepherd], completed in 1859, and [https://nmwa.org/art/collection/highland-raid/ The Highland Raid],'' completed in 1860. These pieces depicted a way of life in the Scottish highlands that had disappeared a century earlier, and they had enormous appeal to Victorian sensibilities.{{citation needed|reason=Discussion of Scotland and England probably isn't included in the French gov. citation at the end of this paragraph|date=March 2016}}

Bonheur exhibited her work at the Palace of Fine Arts and The Woman's Building at the 1893 World's Columbian Exposition in Chicago, Illinois.{{cite web |last1=Nichols |first1=K. L. |title=Women's Art at the World's Columbian Fair & Exposition, Chicago 1893| url=http://arcadiasystems.org/academia/cassatt11.html#bonheurR|access-date=24 July 2018}} In 1889 and 1890 she developed a friendship with American sculptor Cyrus Dallin who was studying in Paris. Together they traveled to Neuilly outside of Paris to sketch the animals and cast of Buffalo Bill Cody's Wild West Show at their encampment.{{Cite book |last=Francis |first=Rell |title=Cyrus E. Dallin Let Justice Be Done |year=1976 |lccn=76-12352 |location=Cyrus Dallin Art Museum |pages=27, 39–40}} In 1890 Bonheur painted Cody on horseback. Dallin's work from this period "A Signal of Peace" would also be displayed in Chicago in 1893 and be the first major step in his career.

Though she was more popular in England than in her native France, she was decorated with the French Legion of Honour by Empress Eugénie in 1865, and was promoted to Officer of the Order in 1894.{{cite web|url=http://www.culture.gouv.fr/public/mistral/leonore_fr?ACTION=RETROUVER&FIELD_1=Cnoms&VALUE_1=bonheur&FIELD_2=PRENOMS&VALUE_2=&FIELD_3=DATE%2dNSS&VALUE_3=&FIELD_4=LIEU%2dNSS&VALUE_4=&FIELD_5=Nom%20de%20jeune%20fille&VALUE_5=&FIELD_6=SEXE&VALUE_6=%20&FIELD_7=COTE&VALUE_7=&NUMBER=3&GRP=0&REQ=%28%28bonheur%29%20%3aNOM%2cNOM2%2cNOM%2dJF%2cNOM%2dMARI%2cSURNOM%2cNOTES%20%29&USRNAME=nobody&USRPWD=4%24%2534P&SPEC=9&SYN=1&IMLY=&MAX1=1&MAX2=1&MAX3=100&DOM=All|title=Base Léonore, recensement des récipiendaires de la Légion d'honneur|work=culture.gouv.fr}} She was the first female artist to be given this award.{{cite book |author= |title=Great women artists |date=2019 |publisher=Phaidon Press |isbn=978-0714878775 |page=65}}

Image:Rosa Bonheur with Bull , by E L Dubufe.jpg, Portrait of Rosa Bonheur 1857. Symbolic of her work as an Animalière, the bull was painted by Bonheur herself.Stammers, Tom (5 November 2020). "Twenty Kicks in the Backside". London Review of Books 42 (21): 17–20.]]

Bonheur was represented by the art dealer Ernest Gambart (1814–1902). In 1855 he brought Bonheur to the United Kingdom,{{Cite book|title=50 women artists you should know|last=Christiane|first=Weidemann|date=2008|publisher=Prestel|others=Larass, Petra., Klier, Melanie, 1970-|isbn=9783791339566|location=Munich|oclc=195744889|url-access=registration|url=https://archive.org/details/50womenartistsyo0000weid}} and he purchased the reproduction rights to her work.{{cite web|url=http://www.goodallartists.ca/ernest.htm|title=Ernest Gambart|work=goodallartists.ca}} Many engravings of Bonheur's work were created from reproductions by Charles George Lewis (1808–1880), one of the finest engravers of the day.

In 1859 her success enabled her to move to the Château de By near Fontainebleau, not far from Paris, where she lived for the rest of her life. The house is now a museum dedicated to her.

Women were often only reluctantly educated as artists in Bonheur's day, and by becoming such a successful artist she helped to open doors to the women artists who followed her.{{cite book |first=Theodore |last=Stanton |url=https://books.google.com/books?id=EAVGAQAAIAAJ&pg=PA64 |title=Reminiscences of Rosa Bonheur (with twenty-four full-page illustrations and fifteen line drawings in the text|publisher= A. Melrose|year= 1910|page=64}}

Bonheur was known for wearing men's clothing;Britta C. Dwyer, "Bridging the gap of difference: Anna Klumpke's "union" with Rosa Bonheur", Out of context. (New York: Greenwood Press, 2004), p. 69-79.; Laurel Lampela, "Daring to be different: a look at three lesbian artists", Art Education v.54 no. 2 (March 2001), p. 45-51. and Gretchen Van Slyke, "The sexual and textual politics of dress: Rosa Bonheur and her cross-dressing permits", Nineteenth-Century French Studies v. 26 no. 3-4 (Spring/Summer 1998) p. 321-35. she attributed her choice of trousers to their practicality for working with animals (see Rational dress).Janson: History of Art, page 929

She lived with her first partner, Nathalie Micas, for over 40 years until Micas' death, and later began a relationship with the American painter Anna Elizabeth Klumpke.{{Cite news|url=https://www.nytimes.com/1997/10/04/style/the-rise-and-fall-of-rosa-bonheur.html|title=The Rise and Fall of Rosa Bonheur|last1=Blume|first1=Mary|date=1997-10-04|work=The New York Times|access-date=2018-03-14|last2=Tribune|first2=International Herald|language=en-US|issn=0362-4331}} At a time when lesbianism was regarded as animalistic and deranged by most French officials, Bonheur's outspokenness about her personal life was groundbreaking.{{Cite book|url=https://books.google.com/books?id=nvt8el4QtPwC&pg=PA311|title=Encyclopedia of Lesbian and Gay Histories and Cultures: An Encyclopedia. Gay histories and cultures. Vol. 2|date=2000|publisher=Taylor & Francis|isbn=9780815333548|language=en}}

File:Anna Klumpke - Portrait of Rosa Bonheur (1898).jpg by Anna Elizabeth Klumpke]]

In a world where gender expression was policed,{{cite journal|last=Boime|first=Albert|title=The case of Rosa Bonheur: Why should a woman want to be more like a man?|journal=Art History|date=December 1981|volume=4|issue=4|pages=384–409|doi=10.1111/j.1467-8365.1981.tb00733.x}} Bonheur broke boundaries by deciding to wear trousers, shirts and ties, although not in her painted portraits or posed photographs. She did not do this because she wanted to be a man, though she occasionally referred to herself as a grandson or brother when talking about her family; rather, she identified with the power and freedom reserved for men.{{cite journal|last1=Van Slyke|first1=Gretchen|title=Gynocentric matrimony: The fin-de-siécle alliance of Rosa Bonheur and Anna Klumpke|journal=Nineteenth-Century Contexts|date=January 1999|volume=20|issue=4|pages=489–502|doi=10.1080/08905499908583461|pmid=22039638}} It also broadcast her sexuality at a time where the lesbian stereotype consisted of women who cut their hair short, wore trousers, and chain-smoked. Rosa Bonheur did all three. Bonheur never explicitly said she was a lesbian, but her lifestyle and the way she talked about her female partners suggest this.Zimmerman, Bonnie (2013). [https://books.google.com/books?id=YTyBAAAAQBAJ&dq=bonheur+lesbian&pg=PA125 Encyclopedia of Lesbian Histories and Cultures]. Hoboken: Taylor & Francis. p. 125. {{ISBN|9781136787515}}.

From 1800 until 2013, women in Paris, France were technically forbidden from wearing trousers without permission from police, with only a few exceptions. Enforcement of this largely stopped during World War I and after, but in Bonheur's time it was still an issue.{{Cite web|url=https://www.thelocal.fr/20220825/french-history-myths-it-was-illegal-for-women-in-france-to-wear-trousers-until-2013|title=Was it really illegal for women in France to wear trousers until 2013?}}{{cite web |last=Wills |first=Matthew |title=Rosa Bonheur's Permission to Wear Pants |url=https://daily.jstor.org/rosa-bonheurs-permission-to-wear-pants/ |website=JSTOR Daily |access-date=23 November 2022 |date=28 May 2022}} In the 1850s, Bonheur had to ask permission from the police to wear trousers, as this was her preferred attire to go to the sheep and cattle markets to study the animals she painted.{{Cite web|last=France|first=Connexion|title=Women wearing trousers was illegal in France until 2013|url=https://www.connexionfrance.com/Mag/French-Life/did-you-know-women-wearing-trousers-in-France-was-illegal-until-2013|access-date=2021-04-24|website=www.connexionfrance.com|language=en}}

Image:Rosa Bonheur Calves 1879.jpg

Bonheur, while taking pleasure in activities usually reserved for men (such as hunting and smoking), viewed her womanhood as something far superior to anything a man could offer or experience. She viewed men as stupid and mentioned that the only males she had time or attention for were the bulls she painted.

Having chosen to never become an adjunct or appendage to a man in terms of painting, she decided she would be her own boss and that she would lean on herself and her female partners instead. She had her partners focus on the home life while she took on the role of breadwinner by concentrating on her painting. Bonheur's legacy paved the way for other lesbian artists who didn't favour the life society had laid out for them.{{cite journal|last1=Lampela|first1=Laurel|title=Daring to Be Different: A Look at Three Lesbian Artists|journal=Art Education|date=2001|volume=54|issue=2|pages=45–54|doi=10.2307/3193946|jstor=3193946|s2cid=189018696 }}

Bonheur died on 25 May 1899, at the age of 77, at Thomery (By), France. She was buried together with Nathalie Micas (1824 – 24 June 1889), her lifelong companion and lover, at Père Lachaise Cemetery, Paris. Klumpke was Bonheur's sole heir after her death,"The late Rosa Bonheur's relatives have been defeated in their contest over the great painter's will. It will be remembered that Miss Klumpke, the artist, was the legatee, and the courts have decided largely in her favor, all of the property, except the paintings, being awarded her, while the proceeds of the paintings, which are to be sold at auction, are to be equally divided between Miss Klumpke and the relatives." "Foreign Notes," [https://books.google.com/books?id=KqsaAAAAYAAJ Mark Hopkins Institute Review of Art], Sept. 1900, vol. 1 no. 2, p. 17. and later joined Micas and Bonheur in the same cemetery upon her death. Bonheur, Micas, and Klumpke's collective tombstone reads, "Friendship is divine affection".{{Cite web |title=The eight women artists of The National Gallery {{!}} Art UK |url=https://artuk.org/discover/stories/the-eight-women-artists-of-the-national-gallery#:~:text=Rosa%20Bonheur,%20Nathalie%20Micas%20and,%27Friendship%20is%20divine%20affection%27. |access-date=2023-03-04 |website=artuk.org |language=en}} Many of her paintings, which had not previously been shown publicly, were sold at auction in Paris in 1900.{{cite EB1911|wstitle=Bonheur, Rosa}}Galerie Georges Petit. 1er. Tome, Catalogue des tableaux par Rosa Bonheur, May 30-June 2, 1900. 2eme Tome, Aquarelles, dessins, gravures par Rosa Bonheur, June 5–8, 1900.

Along with other realist painters of the 19th century, for much of the 20th century Bonheur fell from fashion, and in 1978 a critic described Ploughing in the Nivernais as "entirely forgotten and rarely dragged out from oblivion"; however, that same year it was part of a series of paintings sent to China by the French government for an exhibition titled "The French Landscape and Peasant, 1820–1905".{{cite journal|last=Muratova|first=Xenia|year=1978|title=Current and Forthcoming Exhibitions: Paris and China|journal=The Burlington Magazine|volume=120|issue=901|pages=257–60|jstor=879183}} Since then her reputation has been somewhat revived.

Rosa Bonheur Memorial Park is a pet cemetery located in Elkridge, Maryland, established in 1935, and actively operated until 2002.

Art historian Linda Nochlin’s 1971 essay Why Have There Been No Great Women Artists?, considered a pioneering essay for both feminist art history and feminist art theory,{{cite book|last=Rijsingen|first=Miriam van|editor=Rosemarie Buikema, Anneke Smeli|title=Women's Studies and Culture: A Feminist Introduction|chapter-url=https://books.google.com/books?id=ztJ0vUysZCQC&pg=PA94|year=1995|publisher=Palgrave Macmillan|isbn=9781856493123|pages=94–105|chapter=How purple can it be?: Feminist art history}} contains a section about and titled "Rosa Bonheur."

One of Bonheur's works, Monarchs of the Forest, sold at auction in 2008 for just over $200,000.{{cite web |author=Christie's |url=http://www.christies.com/lotfinder/paintings/rosa-bonheur-monarchs-of-the-forest-5127330-details.aspx|title=Rosa Bonheur (French, 1822-1899)|work=christies.com}}

In homage to the painter, four Parisian guinguettes bear the name Rosa Bonheur. The first opened in 2008 in the Parc des Buttes-Chaumont. It is mentioned at length by Virginie Despentes in her series of novels Vernon Subutex. The second in 2014 on the banks of the Seine at the Port des Invalides, the third in 2017 in Asnières-sur-Seine and the fourth in 2021 in the Bois de Vincennes, home of the Rosa Bonheur Modern Team (RBMT) of various sports teams and a pep band. Each of the four locations of Rosa Bonheur is home to a multilingual pop choir, collectively known as "Viens Chanter Bonheur," which is led by musician and ceramic artist Damien Bousquet.

On 16 March 2022, Google honoured Bonheur with a Doodle to mark the bicentennial of her birth.{{Cite web |title=Google |url=https://www.google.com/?doodle=207425349&hl=en&source=sh/cp/do |access-date=2022-03-16 |website=www.google.com |language=en}} The Doodle reached five countries: the United States, Ireland, France, Iceland and India.{{Cite web |title=Remembering French painter Rosa Bonheur |url=https://www.aljazeera.com/news/2022/3/16/rosa-bonheur-why-google-honurs-her-today |access-date=2022-03-16 |website=www.aljazeera.com |language=en}}

File:Rosa Bonheur studio and museum.jpg

File:Rosa Bonheur - Muletiers espagnols traversent les Pyrénées (1875).jpg

The first biography of Bonheur was published during her lifetime: a pamphlet written by Eugène de Mirecourt, Les Contemporains: Rosa Bonheur, which appeared just after her Salon success with The Horse Fair in 1856.Eugène de Mirecourt, Les Contemporains: Rosa Bonheur (Paris: Gustave Havard, 15 Rue Guénégaud, 1856) 20. Bonheur later corrected and annotated this document.{{citation needed|reason=no citation given|date=March 2016}}

The 1905 book Women Painters of the World (assembled and edited by Walter Shaw Sparrow) was subtitled "from the time of Caterina Vigri, 1413–1463, to Rosa Bonheur and the present day".

The second account was written by Anna Klumpke, Bonheur's companion in the last year of her life. Klumpke's biography, published in 1909 as Rosa Bonheur: sa vie, son oeuvre, was translated in 1997 by Gretchen Van Slyke and published as Rosa Bonheur: The Artist's (Auto)biography, so-named because Klumpke had used Bonheur's first-person voice.Anna Klumpke, Rosa Bonheur: Sa Vie, Son Oeuvre, (Paris: E. Flammarion, 1909), Anna Klumpke, Rosa Bonheur: The Artist's (Auto)Biography, trans. Gretchen Van Slyke (Ann Arbor: University of Michigan Press, 1998).

Reminiscences of Rosa Bonheur, edited by Theodore Stanton (the son of Elizabeth Cady Stanton), was published in London and New York in 1910. It includes numerous correspondences between Bonheur and her family and friends, in which she describes her art-making practices.Theodore Stanton, Reminiscences of Rosa Bonheur, (New York: D. Appleton and company, 1910), Theodore Stanton, Reminiscences of Rosa Bonheur, (London: Andrew Melrose, 1910).

• Ploughing in the Nivernais, 1849
• The Horse Fair, 1852–55
• Haymaking in the Auvergne, 1853–55
• The Highland Shepherd, 1859
• A Family of Deer, 1865
• Changing meadows (Changement de pâturages), 1868
• Spanish muleteers crossing the Pyrenees (Muletiers espagnols traversent les Pyrénées), 1875
• Weaning the Calves, 1879
• Relay Hunting, 1887
• Portrait of William F. Cody, 1889
• The Monarch of the herd, 1868

File:Rosa Bonheur - Changement de pâturages.jpg|Changement de pâturages (1863), Hamburger Kunsthalle

File:Noon Day Rest by Rosa Bonheur - Rosa Bonheur - ABDAG002173.jpg|alt=Two cows and a horse standing in the shade of a tree in a field. More seated cows in the background|Noon Day Rest (1877), Aberdeen Art Gallery

File:The Pyrenees - Rosa Bonheur - ABDAG002181.jpg|alt=Mountainous landscape with a seated man and two donkeys|The Pyrenees (1879), Aberdeen Art Gallery

File:The Charcoal Burners - Rosa Bonheur - ABDAG002621.jpg|The Charcoal Burners (1853), Aberdeen Art Gallery

File:A Stag, by Rosa Bonheur.jpg|A Stag (1893), National Gallery of Ireland

• Rosa Bonheur Memorial Park
• {{ill|Prix Rosa-Bonheur|fr}} (Rosa Bonheur Prize)
• Women artists

{{Reflist}}

{{Refbegin}}

• [https://nmwa.org/explore/artist-profiles/rosa-bonheur NMWA.org Collection Profile] - Bonheur article and artwork at NMWA.

{{Refend}}

• Dore Ashton, Rosa Bonheur: A Life and a Legend. Illustrations and Captions by Denise Browne Harethe. New York: A Studio Book/The Viking Press, 1981 [https://query.nytimes.com/gst/fullpage.html?res=940DE3D61438F937A15756C0A967948260 NYT Review]
• Catherine Hewitt, Art is a Tyrant: The Unconventional Life of Rosa Bonheur. UK Published by Icon Books Ltd in 2020.
• Isabella Zuralski-Yeager, "Tedesco Frères Selling Rosa Bonheur: An Inquiry into Dealers’ Stock Books." The Getty Research Journal, vol. 16, 2022, https://www.journals.uchicago.edu/doi/10.1086/721990.

{{Commons}}

• Joseph J. Rishel, “[https://publications.philamuseum.org/entries/104390 Barbaro after the Hunt by Marie-Rosalie Bonheur (W1900-1-2)]{{Dead link|date=October 2022 |bot=InternetArchiveBot |fix-attempted=yes }},” in [https://publications.philamuseum.org/jgj/vol1 The John G. Johnson Collection: A History and Selected Works]{{Dead link|date=October 2022 |bot=InternetArchiveBot |fix-attempted=yes }}, a Philadelphia Museum of Art free digital publication.
• [https://www.pbs.org/newshour/show/how-france-is-leveraging-a-lottery-to-finance-historic-preservation How France is leveraging a lottery to finance historic preservation], 2020 PBS Newshour report with interior scenes of Bonheur's atelier
• {{Art UK bio}}
• [http://www.artcyclopedia.com/artists/bonheur_rosa.html Rosa Bonheur] - Artcyclopedia search
• [http://www.rehs.com/rosa_bonheur_couching_lion.html Rosa Bonheur] - Rehs Galleries' biographical information and an image of her painting Couching Lion, 1872
• [http://smarthistory.khanacademy.org/bonheurs-plowing-in-the-nivernais.html Rosa Bonheur Plowing in the Nivernais (1849).] A video discussion about the painting from smarthistory.khanacademy.org
• [http://arthistoryproject.com/artists/rosa-bonheur/ A life without Compromise] — Rosa Bonheur biography, artworks and writings on Trivium Art History
• [http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/56268/rec/16 Art and the empire city: New York, 1825-1861], an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Bonheur (see index)
• [https://www.loc.gov/pictures/related/?fi=subject&q=Bonheur%2C%20Rosa%2C--1822-1899. "Bonheur, Rosa,--1822-1899."] Library of Congress
• {{FrenchSculptureCensus}}
• {{NPG name | id=82474}}

{{Rosa Bonheur|state=expanded}}

{{New Woman (late 19th century)}}

{{Authority control (arts)}}

{{DEFAULTSORT:Bonheur, Rosa}}

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