Monarchs Of The Forest 

Curator: My first impression of this work is its subdued power. The muted tones lend the entire image a melancholic beauty. Editor: This painting is entitled "Monarchs Of The Forest" by Rosa Bonheur. Though undated, it's oil on canvas, and showcases the artist’s famous ability to capture the anatomy of animals. Curator: Absolutely. Bonheur's masterful command of form is evident in the musculature and posture of these magnificent stags. Consider how the texture of the forest's edge in the background contrasts with the smoother detailing of the animals' fur. Editor: What is fascinating about Bonheur is that her paintings were hugely popular at the time, offering insight into 19th-century attitudes toward the natural world. The painting depicts the animals like royalty, reflecting a specific vision of natural grandeur as well. Curator: Indeed. I find that the stags’ antlers, their complex branching forms against the diffused light, possess a symbolic richness— perhaps of natural selection and strength. Editor: They do evoke a sense of nobility. Rosa Bonheur broke several social boundaries in order to paint animals. She had to obtain permission from the police to wear trousers so that she could freely visit farms and slaughterhouses to study animal anatomy. In a male-dominated society and art world, she had to fight for her success. Curator: A powerful connection, then, between Bonheur's personal story and the potent image she created. Viewing this from a Formalist approach, there's a clear juxtaposition within the animal's representation, as its gaze invites the viewer into an observational participation. Editor: Exactly, and these animals aren't simply natural specimens, but characters occupying a world increasingly impacted by human society. Bonheur allows her animal subjects to exist in this tension between romantic wildness and contemporary concerns, something for the viewers of her time to interpret. Curator: Looking at this "Monarchs Of The Forest" through that lens certainly adds dimensions to Bonheur's work, beyond my more formal observations. Editor: Agreed. The impact of considering Bonheur's painting within her context makes it far more layered and politically charged than initially meets the eye.