Sitzia on Klumpke, trans. van Slyke (2001)

This unusual book follows the daily life of Rosa Bonheur, an exceptionally successful woman painter, in the gender repressive 19th century France. It traces the extraordinary path of a woman who became a prosperous professional animal painter, who travelled and even had a police authorisation to cross-dress. She led an international art career and was particularly popular in England and America and was also one of the rare women recipients of the Legion of Honour. She owned her own chateau with its private zoo (with lions, oxen, sheep and horses from all over the world) where she lived with her women life companions, Nathalie Micas and her mother and later on with American artist Anna Klumpke.

The title Rosa Bonheur: The Artist’s (Auto)biography captures the unique nature of this book written by Anna Klumpke, Rosa Bonheur’s last life partner, alternating between Anna Klumpke’s own voice and that of her artistic master, lover and protector. A rich introduction by Gretchen van Slyke explains the structure of the book, gives precious biographical information on Rosa Bonheur and lays out the social and historical environment. It draws up the unique relationship, the “perfect affection” between Rosa Bonheur and Nathalie Micas, the companion of the early days and Anna Klumpke.

Part 1, "Anna Klumpke’s story," gives an account of the meeting of the two artists and relates how a strong bound was slowly created between the two women. It’s a story of art revolving around the famous portrait of Rosa Bonheur painted by Anna Klumpke, and a story of love and admiration of a young artist for her famous peer. This part takes you in the daily life of the two women and at the heart of their artistic production.

In Part 2, "Rosa Bonheur’s story," Anna Klumpke takes on the witty and passionate voice of Rosa Bonheur to recount her unusual childhood in a Saint- Simonian household. She narrates the love and tragic loss of her mother as well as her education in a world of men and her first success as a painter. Along the way she underlines the problems linked to her new found status, her travels and her relationship to her art dealers. Using a unique combination of letters, article excerpts, quotation and memories, she tells the tale of her success, the acquisition of the chateau of By and the subsequent visit of the empress as well as the darker year of the 1870 war. This part is well complemented by informative footnotes by Anna Klumpke herself and Gretchen van Slyke that make all historical events clear and identify every person mentioned.

In Part 3 we return to "Anna Klumpke’s story" and her witnessing of the last years of Rosa Bonheur’s life. Anna Klumpke puts together her notes of Rosa Bonheur’s thoughts and ideas on various subjects from birds to cross-dressing and music to religion.

This excellent translation gives access to a crucial record for art historians, to a first hand social study of women artists in 19th century France and to a touching love story. This book is informative, well documented and richly illustrated. This very complete edition provides the reader with the necessary background to fully enjoy the subtlety of this two-voiced book. It is without doubt Anna Klumpke’s greatest portrait and homage to Rosa Bonheur.