Rosa Bonheur: Independence and a Woman’s Will
In the 19th century, a woman painting animals was unusual enough.
But a woman dressed as a man, sketching bulls at a slaughterhouse, smoking cigars, and living with other women unapologetically on her own terms? That is the story of Rosa Bonheur , one of the leading and most prolific animal painters at the time.
Born in 1822 in Bordeaux, France, Rosa Bonheur showed early talent in drawing animals, often copying pictures from books before she could even read. Her father, a follower of Saint-Simonianism (which believed in gender equality), encouraged her to pursue art seriously—a rare thing in a time when women were expected to paint flowers, not farm animals.
By her teens, Bonheur was already venturing into slaughterhouses and cattle markets, eager to study anatomy firsthand. But there was one problem: women weren’t allowed in those places.
So Rosa applied for a special license from the Paris police to legally wear men's clothing—loose trousers, boots, and work coats—so she could move freely and observe her subjects without harassment. The permit was renewed every six months for decades.
She didn’t care much for fashion or expectations. "As far as males go," she once said, "I only like the bulls I paint."
Head of a Calf Oxen Pulling a Cart
Rosa Bonheur never married. She lived for over 40 years with her partner, Nathalie Micas, and later with American painter Anna Klumpke. She was open about her life in ways few dared to be.
She smoked cigars, rode horses astride, and refused to paint what was expected of her. Instead, she gave the world cows, lions, horses, eagles, bulls, and boars—painted not with sentimentality, but with dignity.
At a time when women were rarely even allowed into art academies, Bonheur was the first female artist awarded the Grand Cross of the Legion of Honour in France.
Rosa Bonheur didn’t just leave behind paintings—she left behind a blueprint for what it means to live and create on your own terms.
In an age when women were expected to be silent, domestic, and obedient, she was none of those things. She wore what she wanted. She painted what she loved. She lived with the women who supported her. And she achieved a level of fame, financial success, and institutional respect that was virtually unheard of for a woman in the 19th century.
And yet, like many women who dared to defy the script, history dimmed her light for much of the 20th century. Her work was too sincere for the avant-garde, too rural for the urban elite, too animal-focused to be “intellectual.” But now, with new eyes, the art world is returning to Rosa—not just for the technical brilliance of her brushwork, but for the courage behind it.
Three Horses in a Landscape Wild Boars in the Snow
At Artstale, I work to bring overlooked stories and artworks back into focus. Rosa Bonheur’s paintings are part of that mission. I’ve restored and enhanced several of her works—removing scratches, spots, and damage—so they can be enjoyed in large, high-quality prints.
If you’d like to explore these restored pieces, you can find them here:
👉 View Rosa Bonheur’s collection
I share new stories like this every week, uncovering the lives behind the art—so check back for the next chapter.