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is by Mademoiselle Bonheur's own pencil, and on which she is represented as carelessly and confidently leaning.
At the same time that this gallery was opened, there was also on exhibition in the city Rosa Bonheur's picture of the “Horse-fair,” --Marche aux Chevaux. This magnificent painting fairly introduced Rosa Bonheur to the American public; although, I believe, it was not the first of her pictures which had been brought to this country.
It is pure life and movement.
It is full of hurrying power.
The horses seem to be detached from the canvas, and one almost feels, at first sight, like getting out of the way quickly, lest some of those big-boned steeds, not apparently under the entire control of their grooms, should trample him down in their fury.
The dust, lit up by the sunshine of a hot summer's day, pervades with its powdery cloud the lower line of the picture.
The horses are a natural breed of useful and powerful animals, in fine condition, and excited by the emulation and rush of numbers.
Their necks are clothed with thunder, and the noise and shouting have brought out all their mettle and fire.
The closest and most patient study is shown in marking the typical individualities of the animal, and in the production of such living power without the slightest particle of exaggeration.
One can see the great masses of muscle quiver, and the very hair of the horses' coats flying about.
Yet, with this absolute truth to nature, there is no servile imitation; but there is than creative touch which makes the horses alive, and bids them, as Michael Angelo said to the bronze steed of the Emperor Aurelius, “March i”
Undoubtedly this is Rosa Bonheur's greatest picture, on which her fame chiefly rests; but, in our estimation, one or two others of her paintings — especially of her cattle-scenes -are not only more pleasing, but are equally characteristic of her peculiar genius.
“The Ploughing scene in the Nivernais,” --Labourage Nivernais,--now in the Luxembourg
S. M. Betts and Company. Hartford, Conn. 1871.
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