Henri Rousseau
Henri Rousseau was born in Laval, Pays de la Loire, France on May 21st, 1844 and is the Painter. At the age of 66, Henri Rousseau biography, profession, age, height, weight, eye color, hair color, build, measurements, education, career, dating/affair, family, news updates, and networth are available.
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Henri Julien Frélet Rousseau (French: [i ylj] feliks uso] [the painter s j[f] [Nemesh] nn (1841 – 2 September 1910] was a French post-impressionist painter in the Nave or Primitive style. He was also known as Le Douanier (the customs officer), a comedic representation of his work as a toll collector and tax collector. He started painting seriously in his teens, and by the time 49, he switched from his career to concentrate on his art full-time.
Critics had him ridicued over his lifetime, but he was later recognized as a self-taught genius whose creations are of high artistic value. Rousseau's work had a lasting influence on many generations of avant-garde artists.
Early life
Rousseau was born in Laval, France, in 1844 into the tinsmith's family; he was forced to work there as a young boy. He attended Laval High School as a day student and then as a boarder after his father became a debtor and his parents had to leave the area after seizure of their house. Rousseau also received awards for drawing and music, despite being poor in some of his high school subjects.
After high school, he worked as a prosecutor and learned law, but "attempted a small amount of liberty and sought asylum in the army." He served four years, beginning in 1863. Rousseau moved to Paris in 1868 to help his widowed mother as a government employee after his father's death.
He married Clémence Boitard, his landlord's 15-year-old daughter, with whom he had six children (only one survived). He was appointed as a collector of the octroi of Paris in 1871, collecting taxes on imports into Paris. Josephine Noury married him in 1888, but his wife died in 1888 and he married Josephine Noury in 1898.
He appeared regularly in the Salon des Indépendants from 1886 to present, and although his work was not widely distributed, it attracted a growing following over the years.Tiger in a Tropical Storm (Surprised!)
Rousseau's first serious review was published in 1891, and Rousseau's younger artist Félix Vallotton wrote: "His tiger surprising its prey should not be missed; it's the alpha and omega of painting." Rousseau appeared in a decade before Rousseau returned to portraying his vision of jungles.Rousseau died in Montparnasse, France, in 1893, where he lived and worked until his death in 1910. He created La Bohémienne endormie (The Sleeping Gypsy) in 1897, one of his most well-known works.
In 1905, Rousseau's large jungle scene The Hungry Lion Throws Itself on the Antelope was on display at the Salon des Indépendants near works by younger avant-garde artists such as Henri Matisse in what is now seen as the first showing of The Fauves. Rousseau's painting may have even influenced the Fauves' names.
Berthe de Delaunay's mother, Robert Delaunay, had him painted The Snake Charmer in 1907.
The younger artist immediately recognized Rousseau's genius and rushed to meet him when Pablo Picasso happened upon a painting by Rousseau being sold on the street as a canvas to be painted over. In 1908, Picasso held a half-length banquet in his Le Bateau-Lavoir studio, which was in Rousseau's honor. "Le Banquet Rousseau, one of the twentieth century's most notable social events," American poet and literary commentator John Malcolm Brinnin wrote, "it was neither an octagon nor a opulent one." Its subsequent success was owing to the fact that it was a vibrant presence within a burgeoning art movement at a time of that movement's earliest success, and that it was attended by individuals whose distinctive influence radiated like spokes of creative light across the art world for generations.
Guests at the banquet Rousseau included Guillaume Apollinaire, Jean Metzinger, Juan Gris, Max Jacob, Max Jacob, Marie Laurencin, André Salmon, Pierre Lamb, Maurice Raynal, Daniel-Henri Kahnweiler, Leo Stein, and Gertrude Stein.
Maurice Raynal, p. 69, of Les Soirées de Paris, wrote about "Le Banquet Rousseau." André Salmon, a French writer, recalled the setting of the illustrious banquet years later:
Rousseau's death in 1893, he supplemented his modest pension with part-time jobs and jobs like playing a violin in the streets. He also worked at Le petit Journal for a short time, where he created a number of Le Petit Journal's pages. In March 1910, Rousseau's last work, The Dream, was shown in the Salon des Independants.
Rousseau developed a phlegmon in his leg in the same month, one that he ignored. In August, when he was admitted to the Necker Hospital in Paris, where his son's son died, he discovered gangrene in his leg. He died as a result of an operation on September 2nd, 1910.
Seven people attended his funeral: artists Paul Signac and Manuel Ortiz de Zárate; artist Robert Delaunay and Sonia Terk; Rousseau's landlord Armand Queval; and Guillaume Apollinaire, who wrote the epitaph Brâncuși.
Career
He appeared in the Salon des Indépendants regularly from 1886, and although his work was not widely distributed, it drew an increasing following over the years.Tiger in a Tropical Storm (Surprised!)
Rousseau's first serious examination was published in 1891, and Rousseau wrote: "His tiger shocking its prey should not be missed; it's the alpha and omega of painting." However, Rousseau was more than a decade before he started to portraying his vision of jungles.Rousseau's journey from 1893 to Montparnasse, where he lived and worked until his death in 1910. In 1897, he created La Bohémienne endormie (The Sleeping Gypsy), one of his most popular paintings.
In 1905, Rousseau's massive jungle scene The Hungry Lion Throws Itself on the Antelope was on display at the Salon des Indépendants near works by younger avant-garde artists like Henri Matisse, which was seen as the first exhibition of The Fauves. Rousseau's painting may have even influenced the Fauve names.
Berthe de Delaunay, artist Robert Delaunay's mother, had him paint The Snake Charmer in 1907.
The younger artist recognised Rousseau's genius the moment he happened upon a painting by Rousseau being sold on the street as a canvas to be painted over. Picasso's Le Bateau-Lavoir studio held a half formal, half burlesque banquet in Rousseau's honour in 1908. "One of the twentieth century's most significant social events," Le Banquet Rousseau, wrote American poet and literary critic John Malcolm Brinnin, "was neither an orgiastic event nor a opulent one." Its subsequent success stemmed from the fact that it was a vibrant presence within a pioneering art movement at a time of the movement's earliest success, as well as the fact that it was attended by people whose distinct influences radiated like spokes of creative light throughout the art world for decades."
Guests at the banquet Rousseau were: Guillaume Apollinaire, Jean Metzinger, Juan Gris, Max Jacob, André Salmon, André Salmon, Maurice Raynal, Leo Stein, and Gertrude Stein.
In Les Soirées de Paris, p. 69, Maurice Raynal, wrote about "Le Banquet Rousseau." André Salmon, a French writer, recalled the setting of the illustrious banquet years ago:
Rousseau's resignation in 1893, he supplemented his small pension with part-time jobs and odd jobs such as playing a violin in the streets. He also worked at Le petit Journal, where he produced a few of the journal's covers. Rousseau's last painting, The Dream, was on display at the Salon des Independants in March 1910.
Rousseau had a phlegmon in his leg during the same month, one he ignored. He was discovered to have gangrene in his leg in August, when he was admitted to the Necker Hospital in Paris, where his son had died. He died of a blood clot on September 2nd 1910, the first in 1910.
Seven people attended his funeral: artist Paul Signac and Manuel Ortiz de Zárate; Robert Delaunay and Sonia Terk; Rousseau's proprietor Armand Queval; and Guillaume Apollinaire, who wrote the epitaph Brâncuși, laid on the tombstone.