WOMAN IN ART
"'I am not the author of the work; I have painted only the bull. The woman is by M. Dubuf'."
To cut the story short, the painting was sold for fifteen thousand francs, of which seven thousand were for the bull, and eight thousand for the portrait of Rosa Bonheur. "It was by way of gallantry to the lady," observed M. Dubuf, "because the bull was worth vastly more."
The world is better for the life of this great artist, simple and natural in her manner of life; unselfish and industrious to a remarkable degree, she accomplished wonders and was greatly beloved by the peasantry among whom she lived.
Another incident of her unselfishness and loyalty: "During the Franco-Prussian War of 1870 the booming of cannon at Paris resounded at her quiet home at By. German soldiers were quartered about Fontainebleau, and under orders not to disturb the artist or her animals. But war was in the air and silenced the call of art for the time. The neighborhood was cut off from supplies. To her surprise she received a quantity of supplies one day, from the enemy, also a "safe conduct" that she might go to friends without fear. Rosa Bonheur accepted the provisions which she distributed to the peasants about her. The 'safe conduct' she tore into shreds, declaring she could suffer with her countrymen."
When peace was restored to beleaguered France, the artist resumed her painting with even renewed power and vigor. Her lions are beautiful. Power and strength they had, but held in abeyance. "The Lions at Home" and "Lion and Lioness" are represented as if in native haunts, undisturbed and unaffrighted, so perfectly at repose that their soft, pliant, yet huge bodies seem alive. Her delineation of individuality in animal faces is no less remarkable than the texture, shading, and depth of their coats. One can almost see those cat-like paws slowly open and contract as if in memory of prey once attacked in the wilds.
England and America possess many of her finest paintings in private as well as in public galleries. Beside being the largest market for her canvases during the last decade of her life, Rosa Bonheur had another link of friendship that gave her a warm feeling for America.
The constant friend and companion of her childhood, Natalie Micas, died in 1885, leaving the artist very much alone and deeply saddened. Enthusiasm in her work dropped to a low ebb. But a solace came to her in her friendship with the American artist, Anna Klumpke. The new friendship, being for one younger and from another country, proved a beneficial change. Affection and
84
