1000+ images about Henri Rousseau on Pinterest | Henri rousseau, Rainforests and Moma Pinterest • The world’s catalog of ideas Henri Rousseau Henri Julien Félix Rousseau (May 21, 1844 – September 2, 1910) was a French Post-Impressionist painter in the Naïve or Primitive manner.He was also known as Le Douanier (the customs officer), a humorous description of his occupation as a toll collector.Ridiculed during his lifetime, he came to be recognized as a self-taught genius whose works are of high artistic quality. 84 Pins70 Followers 1000+ images about Henri Rousseau,P.-I.Naive art,Privimitivism on Pinterest | Henri rousseau, Portrait and Jaguar Pinterest • The world’s catalog of ideas Henri Rousseau,P.-I.Naive art,Privimitivism Henri Julien Félix Rousseau (1844-1910),was French Post-Impressionist painter in the Naive or Primitive manner.He was Self-taught genius whouse works are of high artistic quality.

78 Pins180 Followers Factacular : Name the Painter - Post - Impressionist Name the Painter - Post - Impressionist Your overall rating on Name the Painter - Post - Impressionist = 0% Play a Rally Game on Name the Painter - Post - Impressionist The Post-Impressionist topic includes a variety of artistic styles including Neo-Impressionism, Post-Impressionism, Nabilism, Intimism and Pointilism, mostly produced in the last 20 years of the 19th Century. Facts included in this topic are the most popular paintings of key artists listed on the Wikipedia, Wikiart, WikiMedia Commons, Google Art Project, The Atheneum, Olga's Gallery and/or the Web Gallery of Art websites. 135 facts: painted Colonel T.E.

Lawrence; 1919; Welsh; Post-Impressionism; Tate Britain, London, England; oil on canvas; 80 x 60 cm painted The Blue Pool; 1911; Welsh; Post-Impressionism; Aberdeen Art Gallery, Scotland; oil on canvas; 30 x 51 cm Augustus John painted The Marchesa Casati (La marquise Casati); 1919; Welsh; Post-Impressionism; The Art Gallery of Ontario, Toronto, Canada; oil on canvas; 99 x 69 cm Clarence Gagnon painted March in the Birch Woods; 1919; Canadian; Post-Impressionism; Art Gallery of Ontario, Toronto, Canada; oil on canvas; 74 x 91 cm Clarence Gagnon painted The Laurentians, Baie St.

Paul; 1927; Canadian; Post-Impressionism; Musée National des Beaux-Arts du Québec, Canada; oil on canvas; 73 x 92 cm Clarence Gagnon painted The Two Beaches, Paramé, Saint-Malo; 1908; Canadian; Post-Impressionism; Beaverbrook Art Gallery, Fredericton, New Brunswick, Canada; oil on canvas; 124 x 171 cm Clarence Gagnon painted The Yellow House; 1912-1913; Canadian; Post-Impressionism; Musée National des Beaux-Arts du Québec, Canada; oil on canvas; 54 x 73 cm Édouard Vuillard painted Breakfast: 1894; French; Intimism; The National Gallery of Art, Washington D.C., U.S.A.; oil on cardboard; 27 x 23 cm Édouard Vuillard painted The Chestnuts; 1894-1895; French; Cloisonism; Dallas Museum of Fine Arts, Texas, U.S.A.; distemper on canvas; 110 x 70 cm É

douard Vuillard painted Interior (Interieur); 1902; French; Intimism; Dallas Museum of Fine Arts, Texas, U.S.A.; oil on cardboard; 51 x 67 cm Édouard Vuillard painted Woman in Striped Dress (Le corsage rayé); 1895; French; Post-Impressionism; The National Gallery of Art, Washington D.C., U.S.A.; oil on canvas; 65 x 58 cm George Hitchcock painted Blessed Mother; 1892; American; Post-Impressionism; The Cleveland Museum of Art, Ohio, U.S.A.; oil on canvas; 158 x 112 cm painted Calypso; 1906; American; Post-Impressionism; Indianapolis Museum of Art, Indiana, U.S.A.; oil on canvas; 112 x 89 cm George Hitchcock painted Flower Girl in Holland; 1887; American; Post-Impressionism; The Art Institute of Chicago, Illinois, U.S.A.; oil on canvas; 79 x 147 cm George Hitchcock painted The Annunciation; 188

7; American; Post-Impressionism; The Art Institute of Chicago, Illinois, U.S.A.; oil on canvas; 159 x 205 cm Georges Seurat painted Bathers at Asnières; 1884; French; Pointilism; The National Gallery, London, England; oil on canvas; 201 x 300 cm Georges Seurat painted Fishermen (Pescatori); 1883; French; Pointilism; Musée d'art moderne de Troyes, France; oil on panel; 162 x 248 cm Georges Seurat painted Hospice and Lighthouse at Honfleur; 1886; French; Pointillism; Chester Beatty Library Museum, Dublin, Ireland; oil on canvas; 65 x 81 cm Georges Seurat painted Gray Weather, Grande Jatte 1888; French; Pointilism; Philadelphia Museum of Art; Pennsylvania, U.S.A.; oil on canvas; 71 x 66 cm Georges Seurat painted The Can Can (Le Chahut); 1889-1890; French; Pointilism; Kröller

-Müller Museum, Otterlo, The Netherlands; oil on canvas; 172 x 140 cm Georges Seurat painted Circus Sideshow (Parade de Cirque); 1887-1888; French; Pointilism; The Metropolitan Museum of Art, New York, New York, U.S.A.; oil on canvas; 100 x 150 cm Georges Seurat painted A Sunday Afternoon on the Island of La Grande Jatte; 1884-1886; French; Pointilism; The Art Institute of Chicago, Illinois, U.S.A.; oil on canvas; 203 x 308 cm Georges Seurat painted The Circus (Le Cirque); 1891; 1890-1891; French; Pointilim; Musée d'Orsay, Paris, France; oil on canvas; 185 x 152 cm Henri De Toulouse-Lautrec painted La Goulue Arriving at the Moulin Rouge (La Goulue arrivant au Moulin Rouge); 1892; French; Art Nouveau (Modern); The Museum of Modern Art

, New York, New York, U.S.A.; oil on cardboard; 79 x 59 cm Henri De Toulouse-Lautrec painted At the Moulin Rouge: The Departure of the Quadrille; 1892; French; Art Nouveau (Modern); The National Gallery of Art, Washington D.C., U.S.A.; oil on cardboard; 80 x 60 cm Henri De Toulouse-Lautrec painted Ballet Dancers; 1885-1886; French; Post-Impressionism; The Art Institute of Chicago, Illinois, U.S.A.; oil on plaster, transferred by canvas; 154 x 153 cm Henri De Toulouse-Lautrec painted At the Moulin Rouge: Two Women Waltzing; 1892; French; Art Nouveau (Modern); National Gallery in Prague, Czech Republic; oil on cardboard; 93 x 80 cm Henri De Toulouse-Lautrec painted A Corner of the Moulin de la Galette; 1892; French; Art Nouveau (Modern); The National Gallery of Art, Washington D.C., U.S.A; oil on cardboard; 100 x 

89 cm Henri De Toulouse-Lautrec painted At the Circus Fernando: The Ringmaster (Equestrienne); 1888; French; Post-Impressionism; The Art Institute of Chicago, Illinois, U.S.A.; oil on canvas; 63 x 89 cm Henri De Toulouse-Lautrec painted Aristide Bruant in his Cabaret; 1892; French; Art Nouveau (Modern); San Diego Museum of Art, California, U.S.A.; colored lithograph; 127 x 92 cm Henri De Toulouse-Lautrec painted Alone (Elles); 1896; French; Art Nouveau (Modern); Musée d'Orsay, Paris, France; oil on cardboard; 31 x 40 cm Henri De Toulouse-Lautrec painted At the Moulin Rouge (self-portrait in the crowd); 1892-1895; French; Art Nouveau (Modern); The Art Institute of Chicago, Illinois, U.S.A.; oil on canvas; 123 x141 cm Henri De Toulouse-Lautrec painted In Bed (Le Lit); 1893; French;

 Art Nouveau (Modern); Musée d'Orsay, Paris, France; oil on cardboard; 54 x 70 cm Henri De Toulouse-Lautrec painted Jane Avril Leaving the Moulin Rouge; 1892; French; Art Nouveau (Modern); Wadsworth Antheneum, Hartford, Connecticut, U.S.A.; oil on cardboard; 84 x 63 cm Henri De Toulouse-Lautrec painted Woman at Her Toil (Rousse, La Toilette); 1889; French; Art Nouveau (Modern); Musée d'Orsay, Paris, France; oil on cardboard; 67 x 54 cm Henri De Toulouse-Lautrec painted Maxime Dethomas At the Ball of the Opera; 1896; French; Art Nouveau (Modern); The National Gallery of Art, Washington D.C., U.S.A.; oil on cardboard; 68 x 62 cm Henri De Toulouse-Lautrec painted The Medical Inspection; 1894; French; Art Nouveau (Modern); The National Gallery of Art, Washington D.C., U.S.A.; oil on cardboard; 84 x 61

 cm Henri De Toulouse-Lautrec painted The Salon at the Rue des Moulins; 1894; French; Art Nouveau (Modern); Musée Toulouse-Lautrec d'Albi, France; oil on canvas; 112 x 132 cm Henri De Toulouse-Lautrec painted The Clownesse Cha-u-Kao at the Moulin Rouge; 1895; French; Art Nouveau (Modern); Musée d'Orsay, Paris, France; oil on canvas; 75 x 55 cm Henri Rousseau painted A Carnival Evening; 1886; French; Naïve Art (Primitivism); Philadelphia Museum of Art, Pennsylvania, U.S.A.; oil on canvas; 117 x 90 cm Henri Rousseau painted Bouquet of Flowers; 1910; French; Naïve Art (Primitivism); The Tate Gallery, London, England; oil on canvas; 61 x 50 cm Henri Rousseau painted Boy on the Rocks; 1895-1897; French; Naïve Art (Primitivism); The National Gallery of Art, Washington D.C., U

.S.A.; oil on canvas; 55 x 46 cm Henri Rousseau painted Self Portrait from L'ile Saint Louis; 1830; French; Naïve Art (Primitivism); National Gallery in Prague, Czech Republic; oil on canvas; 113 x 146 cm Henri Rousseau painted In a Tropical Forest Combat of a Tiger and a Buffalo; 1908-1909; French; In a Tropical Forest Combat of a Tiger and a Buffalo; The Hermitage Museum, St.

Petersburg, Russia; oil on canvas; 46 x 55 cm Henri Rousseau painted Fight Between a Tiger and a Buffalo; 1908; French; Naïve Art (Primitivism); Cleveland Museum of Art, Ohio, U.S.A.; oil on canvas; 170 x 190 cm Henri Rousseau painted The Eiffel Tower (La tour Eiffel ); 1898; French; Naïve Art (Primitivism); Museum of Fine Arts, Houston, Texas, U.S.A.; oil on canvas; 77 x 52 cm Henri Rousseau painted The Muse Inspiring the Poet (La muse inspirant le poete); 1909; French; Naïve Art (Primitivism); Art Museum of Basel, Switzerland; oil on canvas; 61 x 46 cm Henri Rousseau painted The Sleeping Gypsy (La Zingara addormentata); 1897; French; Naïve Art (Primitivism); The Museum of Modern Art, New York, New York, U.S.A.; oil on canvas; 130 x 201 cm Henri Rousseau painted Tiger

 in a Tropical Storm (Surprised!); 1891; French; Naïve Art (Primitivism); The National Gallery, London, England; oil on canvas; 130 x 162 cm Henri Rousseau painted The Dream; 1910; French; Naïve Art (Primitivism); The Museum of Modern Art, New York, New York, U.S.A.; oil on canvas; 204 x 298 cm Henri Rousseau painted The Hungry Lion Throws Itself on the Antelope; 1905; French; Naïve Art (Primitivism); Beyeler Foundation Museum, Riehen, Switzerland; oil on canvas; 200 x 301 cm Henri Rousseau painted The Equatorial Jungle; 1909; French; Naïve Art (Primitivism); The National Gallery of Art, Washington D.C., U.S.A.; oil on canvas; 140 x 130 cm Henri Rousseau painted The Football Players; 1908; French; Naïve Art (Primitivism); Solomon R.

Guggenheim Museum, New York, New York, U.S.A.; oil on canvas; 100 x 80 cm painted L'Estaque with Red Roofs; 1885; French; Post Impressionism; private collection; oil on canvas; 65 x 81 cm painted The Bathers; 1894-1905; French; Post-Impressionism; The National Gallery, London, England; oil on canvas; 127 x 196 cm Paul Cézanne painted Boy in a Red Waistcoat; 1888-1890; French; Post-Impressionism; The National Gallery of Art, Washington D.C., U.S.A.; oil on canvas; 90 x 72 cm Paul Cézanne painted Chateau Noir; 1900-1904; French; Post-Impressionism; The National Gallery of Art, Washington D.C., U.S.A.; oil on canvas, 74 x 97 cm Paul Cézanne painted Pierrot and Harlequin (Mardi Gras); 1895; French; Post-Impressionism

; Pushkin Museum, Moscow, Russia; oil on canvas; 102 x 81 cm Paul Cézanne painted Jas de Bouffan, the pool; 1876; French; Post-Impressionism; The Hermitage Museum, St.

Petersburg, Russia; oil on canvas; 46 x 56 cm Paul Cézanne painted The Card Players (Les joueurs de carte); 1892-1896; French; Post-Impressionism; Courtland Institute of Art, London, England; oil on canvas; 60 x 73 cm Paul Cézanne painted Mont Saint-Victoire and the Viaduct of the Arc River Valley; 1882-1885; French; Post-Impressionism; The Metropolitan Museum of Art, New York, New York, U.S.A.; oil on canvas; 65 x 82 cm Paul Cézanne painted Still Life with a Curtain and Flowered Pitcher; 1898; French; Post-Impressionism; The Hermitage Museum, St.

Petersburg, Russia; oil on canvas; 55 x 74 cm Paul Cézanne painted Basket of Apples; 1890-1894; French; Post-Impressionism; The Art Institute of Chicago, Illinois, U.S.A.; oil on canvas, 65 x 80 cm Paul Cézanne painted The House with the Cracked Walls; 1892-1894; French; Post-Impressionism; The Metropolitan Museum of Art, New York, New York, U.S.A.; oil on canvas; 80 x 64 cm Paul Cézanne painted The Overture to Tannhauser: The Artist' Mother and Sister; 1868; French; Post-Impressionism; The Hermitage Museum, St.

Petersburg, Russia; oil on canvas; 57 x 92 cm Paul Cézanne painted Woman in a Green Hat (Madame Cézanne); 1894-1895; French; Post-Impressionism; The Barnes Foundation; Philadelphia; Pennsylvania, U.S.A.; oil on canvas; 81 x 40 cm Paul Gauguin painted Where Do We Come From? Who are we?

Where are we going?; 1897; French; Post-Impressionism; Museum of Fine Arts, Boston, Massachusetts, U.S.A.; oil on canvas; 139 x 375 cm Paul Gauguin painted By the Sea (Fatata te Miti) -- 1892; French; Post-Impressionism; The National Gallery of Art, Washington, D.C., U.S.A.; oil on canvas; 92 x 68 cm Paul Gauguin painted Day of the Gods (Mahana no atua); 1894; French; Post-Impressionism; The Art Institute of Chicago, Illinois, U.S.A.; 68 x 92 cm Paul Gauguin painted Self Portrait at Lezaven; 1888; French; Post-Impressionism; The National Gallery of Art, Washington D.C., U.S.A.; oil on canvas; 46 x 39 cm painted Four Breton Women; 1896; French; Post-Impressionism; Neue Pinakothek, Munich, Germany; oil on canvas; 72 x 91 cm painted Martinique Landscape; 18

87; French; Post-Impressionism; Scottish National Gallery, Edinburgh, Scotland; oil on canvas; 116 x 89 cm painted Riders on the Beach (II); 1902; French; Cloisonnism; private collection; oil on canvas; 73 x 92 cm Paul Gauguin painted Still Life with Fruit and Lemons; 1880; French; Post-Impressionism; private collection; oil on canvas; 50 x 61 cm Paul Gauguin painted The Ancestors of Tehamana (Merahi metua no Tehamana); 1893; French; Cloisonnism; The Art Institute of Chicago, Illinois, U.S.A.; oil on canvas; 76 x 54 cm Paul Gauguin painted Tahitian Women on the Beach; 1891; French; Cloisonnism; Musée d'Orsay, Paris, France; oil on canvas; 69 x 91 cm Paul Gauguin painted The Seed of the Areoi (Te aa no areois); 1892; French; Post-Impressionism; The Museum of Modern Art,

 New York, New York, U.S.A.; oil on canvas; 92 x 72 cm Paul Gauguin painted The Sleeping Child; 1884; French; Post-Impressionism; The Art Gallery of Ontario, Toronto Canada; oil on canvas; 46 x 56 cm Paul Gauguin painted The Sorcerer of Hiva Oa; 1902; French; Post-Impressionism; Musée d'art moderne et d'art contemporain de Liège, Belgium; oil on canvas; 92 x 73 cm Paul Gauguin painted Spirit of the Dead Watching (Manao tupapau); 1892; French; Post-Impressionism; Albright-Knox Art Gallery, Buffalo, New York, U.S.A.; oil on canvas; 72 x 92 cm Paul Gauguin painted Tahitian Women with Mango Blossoms; 1899; French; Cloisonnism; The Metropolitan Museum of Art, New York, New York, U.S.A.; oil on canvas; 94 x 72 cm Paul Gauguin painted The Vision After the Sermon (Jacob wrestling with the Angel); 

1888; French; Synthesism; Scottish National Gallery, Edinburgh, Scotland; oil on canvas; 73 x 92 cm Paul Signac painted The Pine Tree at St.

Tropez; 1909; French; Pointillism; Pushkin Museum, Moscow, Russia; oil on canvas; 72 x 92 cm Paul Signac painted The Papal Palace (Palis des Papes Avignon); 1890; French Pointillism; Musée d'Orsay, Paris, France; oil on canvas; 74 x 92 cm Paul Signac painted Portrait of Félix Fénéon; 1890; French; Pointillism; The Museum of Modern Art, New York, New York, U.S.A.; oil on canvas; 74 x 92 cm Paul Signac painted (Les Andelys, Cote d'Aval); 1886; French; Pointilism; The Art Institute of Chicago, Illinois, U.S.A.; oil on canvas; 60 x 92 cm Paul Signac painted The Road to Gennevilliers; 1883; French; Impressionism; Musée d'Orsay, Paris, France; oil on canvas; 92 x 73 cm Paul Signac painted The Jetty at Cassis, Opus: 1889

; French; Pointillism; The Metropolitan Museum of Art, New York, New York, U.S.A.; oil on canvas; 46 x 65 cm Paul Signac painted The Port of Saint-Tropez; 1901; French; Pointillism; The National Museum of Western Art, Tokyo, Japan; oil on canvas; 131 x 162 cm Santiago Rusiñol I Prats painted A Romance; 1894; Spanish; Impressionism; Museu Nacional d'Art de Catalunya, Barcelona, Catalonia, Spain; oil on canvas; 90 x 111 cm Santiago Rusiñol I Prats painted The Garden at Aranjuez, Arbor II (Jardí d'Aranjuez.

Glorieta II); 1919; Spanish; Post-Impressionism; oil on canvas; 120 x 150 cm Santiago Rusiñol I Prats painted Green Wall, Sa Coma, V; 1907; Spanish; Post-Impressionism; Musea Nacional Centro de Arte, Reina Sofia, Madrid, Spain; oil on canvas; 95 x 105 cm Théo Van Rysselberghe painted The Promenade (The Stroll, Women on the Beach); 1901; Belgian; Pointillism; Musées Royaux des Beaux-Arts de Belgique, Brussels, Belgium; oil on canvas; 97 x 130 cm painted Sailing Boats on a River; 1880; Belgian; Neo-Impressionism; private collection; oil on canvas; 27 x 38 cm Vincent Van Gogh painted Flowering Plum Tree (after Hiroshige); 1887; Dutch; Japonism; Van Gogh Museum, Amsterdam, The Netherlands; oil on canvas; 55 x 46 cm painted Dr.

Paul Gachet; 1890; Dutch; Post-Impressionism; Musée d'Orsay, Paris, France; oil on canvas; 67 x 56 cm Vincent Van Gogh painted Fishing Boats on the Beach at Saintes-Maries-de-la-Mer; 1888; Dutch; Japonism; The Hermitage Museum, St.

Petersburg, Russia; oil on canvas; 40 x 56 cm Vincent Van Gogh painted Bedroom at Arles; 1888; Dutch; Post-Impressionism; Van Gogh Musuem, Amsterdam, The Netherlands; oil on canvas; 72 x 90 cm Vincent Van Gogh painted Sorrowful Old Man (At Eternity's Gate); 1890; Dutch; Post-Impressionism; Kröller-Müller Museum, Otterlo, The Netherlands; oil on canvas; 80 x 64 cm Vincent Van Gogh painted Self-Portrait; 1887; Dutch; Post-Impressionism; The Art Institute of Chicago, Illinois, U.S.A.; oil on pasteboard; 42 x 34 cm Vincent Van Gogh painted Road with Cypress and Star (Country Road in Provence by Night); 1890; Dutch; Post-Impressionism; Kröller-Müller Museum, Otterlo, The Netherlands; oil on canvas; 92 x 73 cm Vincent Van Gogh painted Irises; 1889; Dutch; Post-Impressionism; J.

Paul Getty Museum, Los Angeles, U.S.A.; oil on canvas; 71 x 93 cm Vincent Van Gogh painted Madame Roulin Rocking the Cradle (La Berceuse); 1889; Dutch; Post-Impressionism; The Art Institute of Chicago, Illinois, U.S.A.; oil on canvas; 93 x 74 cm Vincent Van Gogh painted The Church at Auvers (L'eglise d'Auvers-sur-Oise); 1890; Dutch; Post-Impressionism; Musée d'Orsay, Paris, France; oil on canvas; 94 x 74 cm Vincent Van Gogh painted The Alpilles with Olive Trees in the Foreground; 1889; Dutch; Post-Impressionism; The Museum of Modern Art, New York, New York, U.S.A.; oil on canvas; 92 x 72 cm Vincent Van Gogh painted Painter on the Road to Tarascon (Self-Portrait); 1888; Dutch; Post-Impressionism; destroyed in Second World War; oil on canvas; 48 x 44 cm Vincent Van Gogh painted Head of

 a skeleton with a burning cigarette; 1885; Dutch; Realism; Van Gogh Museum; Amsterdam, The Netherlands; oil on canvas; 32 x 24 cm Vincent Van Gogh painted The Starry Night; 1889; Dutch; Post-Impressionism; The Museum of Modern Art, New York, New York, U.S.A.; oil on canvas; 74 x 92 cm Vincent Van Gogh painted Still Life: Vase with Twelve Sunflowers; 1888; Dutch; Post-Impressionism; Neue Pinakothek, Munich, Germany; oil on canvas; 91 x 72 cm Vincent Van Gogh painted Starry Night Over the Rhone; 1888; Dutch; Post-Impressionism; Musée d'Orsay, Paris, France; oil on canvas; 72 x 92 cm Vincent Van Gogh painted Still Life with Absinthe; 1887; Dutch; Post-Impressionism; Van Gogh Museum, Amsterdam, The Netherlands; oil on canvas; 46 x 33 cm Vincent Van Gogh painted The Langlois Bridge at Arles with Women

 Washing; 1888; Dutch; Post-Impressionism; Japonism; Kröller-Müller Museum, Otterlo, The Netherlands; oil on canvas; 54 x 65 cm Vincent Van Gogh painted The Potato Eaters; 1885; Dutch; Post-Impressionism; Van Gogh Museum, Amsterdam, The Netherlands; oil on canvas; 82 x 114 cm Vincent Van Gogh painted The Night Café; 1888; Dutch; Post-Impressionism; Yale University Art Gallery, New Haven, U.S.A.; oil on canvas; 72 x 92 cm Vincent Van Gogh painted Orchard in Bloom with Populars; 1889; Dutch; Post-Impressionism; Neue Pinakothek, Munich, Germany; oil on canvas; 72 x 92 cm Vincent Van Gogh painted Wheat Field with Cypresses; 1889; Dutch; Post-Impressionism; The Metropolitan Museum of Art, New York, New York, U.S.A.; oil on canvas; 72 x 93 cm Vincent Van Gogh painted Wheatfield with Crows; 1

890; Dutch; Post-Impressionism; Van Gogh Museum, Amsterdam, The Netherlands; oil on canvas; 50 x 103 cm Vincent Van Gogh painted White House at Night; 1890; Dutch; Post-Impressionism; The Hermitage Museum, St.

Petersburg, Russia; oil on canvas; 59 x 72 cm << Prev Next >> Henri Rousseau on ArtStack - art online Background[ edit ] Rousseau was born in Laval, France , in 1844 into the family of a plumber; he was forced to work there as a small boy. [7] 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 town upon the seizure of their house. Though mediocre in some of his high school subjects, Rousseau won prizes for drawing and music. [8] After high school, he worked for a lawyer and studied law, but "attempted a small perjury and sought refuge in the army." [9] He served four years, starting in 1863. With his father's death, Rousseau moved to Paris in 1868 to support his widowed mother as a government employee. In 1868, he married Clémence Boitard, his landlord's 15-year-old daughter, with whom he had six children (only one survived).

In 1871, he was appointed as a collector of the octroi of Paris, collecting taxes on goods entering Paris. His wife died in 1888 and he married Josephine Noury in 1898. He started painting seriously in his early forties; by age 49, he retired from his job to work on his art full-time. [6] Rousseau claimed he had "no teacher other than nature", [3] although he admitted he had received "some advice" from two established Academic painters , Félix Auguste Clément and Jean-Léon Gérôme . [10] Essentially, he was self-taught and is considered to be a naïve or primitive painter. Paintings[ edit ] Self-portrait of the Artist with a Lamp His best-known paintings depict jungle scenes, even though he never left France or saw a jungle. Stories spread by admirers that his army service included the French expeditionary force to Mexico are unfounded. His inspiration came from illustrations in children's books [11] and the botanical gardens in Paris , as well as tableaux of taxidermy wild animals.

He had also met soldiers during his term of service who had survived the French expedition to Mexico, and he listened to their stories of the subtropical country they had encountered. To the critic Arsène Alexandre, he described his frequent visits to the Jardin des Plantes : "When I go into the glass houses and I see the strange plants of exotic lands, it seems to me that I enter into a dream." Along with his exotic scenes there was a concurrent output of smaller topographical images of the city and its suburbs. He claimed to have invented a new genre of portrait landscape, which he achieved by starting a painting with a specific view, such as a favourite part of the city, and then depicting a person in the foreground. Criticism and recognition[ edit ] Tiger in a Tropical Storm (Surprised!) (1891) was the first of many jungle scenes for which Rousseau is best known. Rousseau's flat, seemingly childish style was disparaged by many critics; people often were shocked by his work or ridiculed it. [5] [12] His ingenuousness was extreme, and he always aspired, in vain, to conventional acceptance.

Many observers commented that he painted like a child, but the work shows sophistication with his particular technique. [3] [5] From 1886, he exhibited regularly in the Salon des Indépendants , and, although his work was not placed prominently, it drew an increasing following over the years. Tiger in a Tropical Storm (Surprised!) was exhibited in 1891, and Rousseau received his first serious review when the young artist Félix Vallotton wrote: "His tiger surprising its prey ought not to be missed; it's the alpha and omega of painting." Yet it was more than a decade before Rousseau returned to depicting his vision of jungles. [6] In 1893, Rousseau moved to a studio in Montparnasse where he lived and worked until his death in 1910. [13] In 1897, he produced one of his most famous paintings, La Bohémienne endormie ( The Sleeping Gypsy ).

The Hungry Lion Throws Itself on the Antelope , 1905 In 1905, Rousseau's large jungle scene The Hungry Lion Throws Itself on the Antelope was exhibited at the Salon des Indépendants near works by younger leading avant-garde artists such as Henri Matisse , in what is now seen as the first showing of The Fauves . Rousseau's painting may even have influenced the naming of the Fauves. [6] In 1907, he was commissioned by artist Robert Delaunay 's mother, Berthe, Comtesse de Delaunay, to paint The Snake Charmer. Le Banquet Rousseau[ edit ] When Pablo Picasso happened upon a painting by Rousseau being sold on the street as a canvas to be painted over, the younger artist instantly recognised Rousseau's genius and went to meet him. In 1908, Picasso held a half serious, half burlesque banquet in his studio at Le Bateau-Lavoir in Rousseau's honour.

[1] Le Banquet Rousseau, "one of the most notable social events of the twentieth century," wrote American poet and literary critic John Malcolm Brinnin , "was neither an orgiastic occasion nor even an opulent one. Its subsequent fame grew from the fact that it was a colorful happening within a revolutionary art movement at a point of that movement's earliest success, and from the fact that it was attended by individuals whose separate influences radiated like spokes of creative light across the art world for generations." [14] Guests at the banquet Rousseau included: Guillaume Apollinaire , Jean Metzinger , Juan Gris , Max Jacob , Marie Laurencin , André Salmon , Maurice Raynal , Daniel-Henri Kahnweiler , Leo Stein , and Gertrude Stein . [15] Maurice Raynal, in Les Soires de Paris, January 15, 1914, p. 69, wrote about "Le Banquet Rousseau". [16] Years later the French writer André Salmon recalled the setting of the illustrious banquet: "Here the nights of the Blue Period passed... here the days of the Rose Period flowered...

here the Demoiselles d'Avignon halted in their dance to re-group themselves in accordance with the golden number and the secret of the fourth dimension... here fraternized the poets elevated by serious criticism into the School of the Rue Ravignan... here in these shadowy corridors lived the true worshippers of fire ... here one evening in the year 1908 unrolled the pageantry of the first and last banquet offered by his admirers to the painter Henri Rousseau called the Douanier." [14] [15] [17] Retirement[ edit ] After Rousseau's retirement in 1893, he supplemented his small pension with part-time jobs and work such as playing a violin in the streets. He also worked briefly at Le petit journal, where he produced a number of its covers. [6] The Dream (1910), MoMA Rousseau exhibited his final painting, The Dream , in March 1910, at the Salon des Independants and in the same month suffered a phlegmon in his leg which he ignored.

[18] In August he was admitted to the Necker Hospital [19] in Paris where his son had died and was found to have gangrene in his leg. After an operation, he died from a blood clot on September 2, 1910. At his funeral, seven friends stood at his grave: the painters Paul Signac and Manuel Ortiz de Zárate , the artist couple Robert Delaunay and Sonia Terk , the sculptor Brâncuși , Rousseau's landlord Armand Queval, and Guillaume Apollinaire who wrote the epitaph Brâncuși put on the tombstone: We salute you Gentle Rousseau you can hear us. Delaunay, his wife, Monsieur Queval and myself. Let our luggage pass duty free through the gates of heaven. We will bring you brushes paints and canvas. That you may spend your sacred leisure in the light and Truth of Painting. As you once did my portrait facing the stars, lion and the gypsy.

Legacy[ edit ] Rousseau in 1902 Rousseau's work exerted an extensive influence on several generations of avant-garde artists, including Pablo Picasso , Jean Hugo , Fernand Léger Jean Metzinger , Max Beckmann , and the Surrealists . According to Roberta Smith, an art critic writing in The New York Times , "Beckmann’s amazing self-portraits, for example, descend from the brusque, concentrated forms of Rousseau’s portrait of the writer Pierre Loti ." [6] [20] In 1911, a retrospective exhibition of Rousseau's works was shown at the Salon des Indépendants . His paintings were also shown at the first Blaue Reiter exhibition. Critics have noted the influence of Rousseau on Wallace Stevens 's poetry. See, for instance, Stevens's Floral Decorations for Bananas in the collection Harmonium . The American poet Sylvia Plath was a great admirer of Rousseau, referencing his art, as well as drawing inspiration from his works in her poetry.

The poem, Yadwigha, on a Red Couch, Among Lilies (1958), is based upon his painting, The Dream, whilst the poem Snakecharmer (1957) is based upon his painting The Snake Charmer. [21] The song, The Jungle Line, by Joni Mitchell , is based upon a Rousseau painting. [22] Self Portrait (1890), National Gallery, Prague Underground comic artist Bill Griffith drew a four-page autobiographical sketch of Rousseau, A Couch in the Sun, which was included in issue #2 of the Arcade anthology . The visual style of Michel Ocelot 's 1998 animation film, Kirikou and the Sorceress , is partly inspired by Rousseau, particularly the depiction of the jungle vegetation. [23] A Rousseau painting was used as an inspiration for the 2005 animated film Madagascar .

[24] Exhibitions[ edit ] Two major museum exhibitions of his work were held in 1984–85 (in Paris, at the Grand Palais; and in New York, at the Museum of Modern Art ) and in 2001 (Tübingen, Germany). "These efforts countered the persona of the humble, oblivious naïf by detailing his assured single-mindedness and tracked the extensive influence his work exerted on several generations of vanguard artists," critic Roberta Smith wrote in a review of a later exhibition. [6] A major exhibition of his work, "Henri Rousseau: Jungles in Paris," was shown at the Tate Modern from November 2005 for four months, organised by the Tate and the Musée d’Orsay , where the show also appeared. The exhibition, encompassing 49 of his paintings, was on display at the National Gallery of Art in Washington from July 16–October 15, 2006. A major collection of Rousseau's work was shown at the Grand Palais from March 15 to June 19, 2006.

Henri Julien Rousseau - The complete works - Page 1 Of The Artist With A Lamp Henri Julien Felix Rousseau (May 21, 1844 - September 2, 1910) was a French Post-Impressionist painter in the Naive or Primitive manner. He is also known as Le Douanier (the customs officer) after his place of employment. Ridiculed during his life, he came to be recognized as a self-taught genius whose works are of high artistic quality. He was born in Laval in the Loire Valley into the family of a plumber. 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 town upon the seizure of their house. He was mediocre in some subjects at the high school but won prizes for drawing and music. He worked for a lawyer and studied law, but "attempted a small perjury and sought refuge in the army," serving for four years, starting in 1863.

Henri Rousseau Paintings, Prints & Artwork | HenriRousseau.co.uk Buy Now from Art.com Snake Charmer Henri Rousseau had a colourful style which was termed Primitivism because of it's similarity to cartoon, with a technique of depicting animals and people which some academics labelled as naive and childlike. Fortunately there have been enough who enjoyed his work that his name and reputation has grown steadily in recent years to a point where his original paintings are highly sought after, with many taking prominent positions within significant national galleries and museums across Europe and North America. Buy Now from Art.com Dream The popularity within the art public of Henri Rousseau has ensured that his original paintings are frequently bought as fine art print reproductions right across the world, with posters and stretched canvas copies also being purchased. The style of his work and the clear lines of his portraits, as well as the colourful makeup of his scenes, ensures that they are ideal for printed reproductions with framed giclees typically offering the most accurate form of reproductions of all.

Buy Now from Art.com Surprise With so many people looking to buy Henri Rousseau reproductions online we decided it would make sense to include links within this website to where you can do exactly that, and we have carefully chosen the Art.com Rousseau prints gallery as our recommended resource as we have regularly used them ourlselves so are very confident in suggesting them as the best place to start. We have a framed reproductions of Dream on our wall, and expect to purchase more from them in the future. Buy Now from Art.com Waterfall Throughout his career Henri Rousseau features heavy use of his favoured animals which take up the jungle scenes in which he would only occasionally add people in as well. Where models are used, they would inevitably be the focal point of that particular painting where as when a mixture of animals were combined the key focal point was often less obvious. Monkeys were amongst the most common animal used and colour would always be a major factor when the artists was deciding who to include. Brightness was essential when adding subjects on top of his normally dark green jungle backgrounds.

Buy Now from Art.com Sleeping Gypsy Post-impressionism is a large umbrella of contemporary ideas which Henri Rousseau broadly fits into and Primitivism came a long as just a more specific label with which to classify his work. Many post-impressionists struggled within their lifetime to attract academic acceptance and so Henri Rousseau was not unusual in this regard. It is always pleasing to see any painter finally recognised once their contemporary and original approaches are finally understood. Buy Now from Art.com Monkeys Those who enjoy the style used by Henri Rousseau should also check out the breadth of contemporary art movements which may also be of interest, such as Pop artists whose approach also gives a relatively cartoon-like finish. Within this are the likes of Andy Warhol, Roy Lichtenstein and David Hockney who all have impressive careers which are worth checking out. Post-impressionism also contained vincent van Gogh who needs no introduction and certainly brought about his own impressive legacy. Buy Now from Art.com Jungle Whilst Henri Rousseau is best known for his jungle paintings, there are also significant amounts of other subjects, such as his own depiction of the Eiffel Tower and some beautiful flamingos.

All artists become labelled for a certain style which is normally just a small selection of their overall career output and Henri Rousseau was no different to this. Despite his change in subject, though, his overall style was always consistent with a cartoon-like approach and use of bold colours that attracted so many fans within the 20th century and continues to do so today. Henri Rousseau Henri Rousseau September 2, 1910 (aged 66) Paris, France Painting Notable work Henri Julien Félix Rousseau ( French: ; May 21, 1844 – September 2, 1910) [1] was a French post-impressionist painter in the Naïve or Primitive manner. [2] [3] He was also known as Le Douanier (the customs officer), a humorous description of his occupation as a toll collector. [1] Ridiculed during his lifetime by critics, he came to be recognized as a self-taught genius whose works are of high artistic quality. [4] [5] Rousseau’s work exerted an extensive influence on several generations of avant-garde artists.

[6] Contents 11 External links Background Rousseau was born in Laval, France , in 1844 into the family of a plumber; he was forced to work there as a small boy. [7] 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 town upon the seizure of their house. Though mediocre in some of his high school subjects, Rousseau won prizes for drawing and music. [8] After high school, he worked for a lawyer and studied law, but “attempted a small perjury and sought refuge in the army.” [9] He served four years, starting in 1863. With his father’s death, Rousseau moved to Paris in 1868 to support his widowed mother as a government employee. In 1868, he married Clémence Boitard, his landlord’s 15-year-old daughter, with whom he had six children (only one survived). In 1871, he was appointed as a collector of the octroi of Paris, collecting taxes on goods entering Paris.

His wife died in 1888 and he married Josephine Noury in 1898. He started painting seriously in his early forties; by age 49, he retired from his job to work on his art full-time. [6] Rousseau claimed he had “no teacher other than nature”, [3] although he admitted he had received “some advice” from two established Academic painters , Félix Auguste Clément and Jean-Léon Gérôme . [10] Essentially, he was self-taught and is considered to be a naïve or primitive painter. Paintings Self-portrait of the Artist with a Lamp His best-known paintings depict jungle scenes, even though he never left France or saw a jungle. Stories spread by admirers that his army service included the French expeditionary force to Mexico are unfounded. His inspiration came from illustrations in children’s books [11] and the botanical gardens in Paris , as well as tableaux of taxidermy wild animals. He had also met soldiers during his term of service who had survived the French expedition to Mexico, and he listened to their stories of the subtropical country they had encountered.

To the critic Arsène Alexandre, he described his frequent visits to the Jardin des Plantes : “When I go into the glass houses and I see the strange plants of exotic lands, it seems to me that I enter into a dream.” Along with his exotic scenes there was a concurrent output of smaller topographical images of the city and its suburbs. He claimed to have invented a new genre of portrait landscape, which he achieved by starting a painting with a specific view, such as a favourite part of the city, and then depicting a person in the foreground. Criticism and recognition Tiger in a Tropical Storm (Surprised!) (1891) was the first of many jungle scenes for which Rousseau is best known. Rousseau’s flat, seemingly childish style was disparaged by many critics; people often were shocked by his work or ridiculed it. [5] [12] His ingenuousness was extreme, and he always aspired, in vain, to conventional acceptance. Many observers commented that he painted like a child, but the work shows sophistication with his particular technique.

[3] [5] From 1886, he exhibited regularly in the Salon des Indépendants , and, although his work was not placed prominently, it drew an increasing following over the years. Tiger in a Tropical Storm (Surprised!) was exhibited in 1891, and Rousseau received his first serious review when the young artist Félix Vallotton wrote: “His tiger surprising its prey ought not to be missed; it’s the alpha and omega of painting.” Yet it was more than a decade before Rousseau returned to depicting his vision of jungles. [6] In 1893, Rousseau moved to a studio in Montparnasse where he lived and worked until his death in 1910. [13] In 1897, he produced one of his most famous paintings, La Bohémienne endormie ( The Sleeping Gypsy ).

The Hungry Lion Throws Itself on the Antelope , 1905 In 1905, Rousseau’s large jungle scene The Hungry Lion Throws Itself on the Antelope was exhibited at the Salon des Indépendants near works by younger leading avant-garde artists such as Henri Matisse , in what is now seen as the first showing of The Fauves . Rousseau’s painting may even have influenced the naming of the Fauves. [6] In 1907, he was commissioned by artist Robert Delaunay ‘s mother, Berthe, Comtesse de Delaunay, to paint The Snake Charmer. Le Banquet Rousseau When Pablo Picasso happened upon a painting by Rousseau being sold on the street as a canvas to be painted over, the younger artist instantly recognised Rousseau’s genius and went to meet him. In 1908, Picasso held a half serious, half burlesque banquet in his studio at Le Bateau-Lavoir in Rousseau’s honour.

[1] Le Banquet Rousseau, “one of the most notable social events of the twentieth century,” wrote American poet and literary critic John Malcolm Brinnin , “was neither an orgiastic occasion nor even an opulent one. Its subsequent fame grew from the fact that it was a colorful happening within a revolutionary art movement at a point of that movement’s earliest success, and from the fact that it was attended by individuals whose separate influences radiated like spokes of creative light across the art world for generations.” [14] Guests at the banquet Rousseau included: Guillaume Apollinaire , Jean Metzinger , Juan Gris , Max Jacob , Marie Laurencin , André Salmon , Maurice Raynal , Daniel-Henri Kahnweiler , Leo Stein , and Gertrude Stein . [15] Maurice Raynal, in Les Soires de Paris, January 15, 1914, p. 69, wrote about “Le Banquet Rousseau”.

[16] Years later the French writer André Salmon recalled the setting of the illustrious banquet: “Here the nights of the Blue Period passed… here the days of the Rose Period flowered… here the Demoiselles d’Avignon halted in their dance to re-group themselves in accordance with the golden number and the secret of the fourth dimension… here fraternized the poets elevated by serious criticism into the School of the Rue Ravignan… here in these shadowy corridors lived the true worshippers of fire … here one evening in the year 1908 unrolled the pageantry of the first and last banquet offered by his admirers to the painter Henri Rousseau called the Douanier.” [14] [15] [17] Retirement After Rousseau’s retirement in 1893, he supplemented his small pension with part-time jobs and work such as playing a violin in the streets. He also worked briefly at Le petit journal, where he produced a number of its covers.

[6] The Dream (1910), MoMA Rousseau exhibited his final painting, The Dream , in March 1910, at the Salon des Independants and in the same month suffered a phlegmon in his leg which he ignored. [18] In August he was admitted to the Necker Hospital [19] in Paris where his son had died and was found to have gangrene in his leg. After an operation, he died from a blood clot on September 2, 1910. At his funeral, seven friends stood at his grave: the painters Paul Signac and Manuel Ortiz de Zárate , the artist couple Robert Delaunay and Sonia Terk , the sculptor Brâncuși , Rousseau’s landlord Armand Queval, and Guillaume Apollinaire who wrote the epitaph Brâncuși put on the tombstone: We salute you Gentle Rousseau you can hear us. Delaunay, his wife, Monsieur Queval and myself. Let our luggage pass duty free through the gates of heaven. We will bring you brushes paints and canvas. That you may spend your sacred leisure in the light and Truth of Painting.

As you once did my portrait facing the stars, lion and the gypsy. Legacy Rousseau in 1902 Rousseau’s work exerted an extensive influence on several generations of avant-garde artists, including Pablo Picasso , Jean Hugo , Fernand Léger Jean Metzinger , Max Beckmann , and the Surrealists . According to Roberta Smith, an art critic writing in The New York Times , “Beckmann’s amazing self-portraits, for example, descend from the brusque, concentrated forms of Rousseau’s portrait of the writer Pierre Loti .” [6] [20] In 1911, a retrospective exhibition of Rousseau’s works was shown at the Salon des Indépendants . His paintings were also shown at the first Blaue Reiter exhibition. Critics have noted the influence of Rousseau on Wallace Stevens ‘s poetry. See, for instance, Stevens’s Floral Decorations for Bananas in the collection Harmonium . The American poet Sylvia Plath was a great admirer of Rousseau, referencing his art, as well as drawing inspiration from his works in her poetry.

The poem, Yadwigha, on a Red Couch, Among Lilies (1958), is based upon his painting, The Dream, whilst the poem Snakecharmer (1957) is based upon his painting The Snake Charmer. [21] The song, The Jungle Line, by Joni Mitchell , is based upon a Rousseau painting. [22] Self Portrait (1890), National Gallery, Prague Underground comic artist Bill Griffith drew a four-page autobiographical sketch of Rousseau, A Couch in the Sun, which was included in issue #2 of the Arcade anthology . The visual style of Michel Ocelot ‘s 1998 animation film, Kirikou and the Sorceress , is partly inspired by Rousseau, particularly the depiction of the jungle vegetation. [23] A Rousseau painting was used as an inspiration for the 2005 animated film Madagascar . [24] Exhibitions Two major museum exhibitions of his work were held in 1984–85 (in Paris, at the Grand Palais; and in New York, at the Museum of Modern Art ) and in 2001 (Tübingen, Germany).

“These efforts countered the persona of the humble, oblivious naïf by detailing his assured single-mindedness and tracked the extensive influence his work exerted on several generations of vanguard artists,” critic Roberta Smith wrote in a review of a later exhibition. [6] A major exhibition of his work, “Henri Rousseau: Jungles in Paris,” was shown at the Tate Modern from November 2005 for four months, organised by the Tate and the Musée d’Orsay , where the show also appeared. The exhibition, encompassing 49 of his paintings, was on display at the National Gallery of Art in Washington from July 16–October 15, 2006. A major collection of Rousseau’s work was shown at the Grand Palais from March 15 to June 19, 2006. Paintings Rosen, Lisa (8 May 2005). “A jungle’s classic roots: Capturing The Style For ‘Madagascar’ Meant Going Past The ’50S To Artist Henri Rousseau.” . Los Angeles Times. Retrieved 17 April 2013.

References Much of the information in this article was taken from Henri Rousseau Jungles in Paris, The Tate Gallery , pamphlet accompanying the 2005 exhibition. Further reading The Banquet Years, by Roger Shattuck (includes an extensive Rousseau essay) Henri Rousseau, 1979, Dora Vallier (general illustrated essay) Henri Rousseau, 1984, The Museum of Modern Art New York (essays by Roger Shattuck, Henri Béhar, Michel Hoog, Carolyn Lanchner, and William Rubin ; includes excellent color plates and analysis) External links Henri Rousseau Paintings, Prints & Artwork | RousseauPaintings.org Henri Rousseau Paintings Buy Now from Art.com Rousseau was an original French painter, whose style sparked controversy in the 19th century Henri Rousseau was an imaginative and highly original French artist who created a reputation which remains very strong even today. His life was spent predominantly with in the 19th century and his best work came towards the end of that period, which also included several other crucial painters who are still internationally acclaimed today. This website covers the full life and career of Henri Rousseau and lists all of his most famous paintings.

You can also find Rousseau paintings here. Henri Rousseau's paintings featured a very characteristic style that has been loosely classified with in the art movements of Post-Impressionism, Naive art and Primitivism. Academically, his approach was treated with distain by many at the time of his career, but fans with in the mainstream art world have found great charm with in his paintings that has helped him to become a highly appreciated painter. The best known works by Henri Rousseau included titles such as The Sleeping Gypsy, The Merry Jesters, The Snake Charmer and The Dream although the fuller list from his career is far longer and included further down the page. A selection of his best paintings such as those mentioned here are included as images throughout this website, and accompanied by links from which you can buy your own Rousseau reproductions as framed or unframed giclee art prints, posters or stretched canvases. Henri Rousseau featured a style within his work that whilst very original, and almost cartoon-like, bears some resemblance to certain artists who are known to have inspired him and served as study topics for a young Henri as he saught new influences at the start of his career.

Amongst the artists believed to have been of interest to Rousseau were Fernand Léger, Max Beckmann and Jean Hugo who were also based in contemporary periods. Buy Now from Art.com Snake Charmer Rousseau was determined to not let his art become too reliant on what had gone before and his individualistic approach was very important to him. He remained relatively untrained and that helped to preserve his methods. Despite his clear dis-connection for academics there were two who are believed to have given him at least some guidance in his early days, namely Félix Auguste-Clément and Jean-Léon Gérôme. They were two that he respected for their own impressive careers. The artist consistently tried to get acceptance for his paintings and was constantly frustrated at his failure to do so, but it is only now that he has managed to get a broad level of approval, with Rousseau paintings becoming exceptionally popular as art reproductions, normally in the forms of framed giclee art prints, posters, stretched canvases and in some cases, handmade oil reproduction paintings.

Buy Now from Art.com Waterfall Henri Rousseau jungle paintings are what the artist is best remembered for and he produced many charming works along the jungle theme, varying his choices of human characters and animals, as well as the surrounding foliage. Examples of his jungle paintings included Exotic Landscape, Fight Between a Tiger and a Buffalo, In a Tropical Forest Combat of a Tiger and a Buffalo, The Equatorial Jungle, The Sleeping Gypsy, The Dream, The Hungry Lion Throws Itself on the Antelope and Tiger in a Tropical Storm (Surprised!). Henri Rousseau is just one of many impressive artists to have come from France during the 19th century, with most others linked to the supremely impressive and influential impressionist art movement which was spearheaded by the likes of Claude Monet. Rousseau's own career was particularly separated by this as he struggled to gain academic acclaim for his own style which many considered to be childish and too simple. Buy Now from Art.com Sleeping Gypsy Sleeping Gypsy.

Rousseau was a great example of yet another painter who brought contemporary ideas and unusual techniques to the art world that was to struggle during the life of the painter for acceptance, and only truly be appreciated and understood several generations after his life has passed by. Contemporary styles often simplify objects and that is now an accepted form of art, and led to more extreme ideas such as abstraction. In today's art world Henri Rousseau paintings can be found in many major art galleries and museums right across the world and his legacy can also be shown by the other artists who followed after him whose styles beared cleared similarities to the cartoon-like methods of Rousseau. His use of charming animals within jungle scenes will proabably always remain what he is best known for. Henri Rousseau : definition of Henri Rousseau and synonyms of Henri Rousseau (English) 10 External links Background Henri Rousseau was born in Laval, France in 1844 in the Loire Valley into the family of a tinsmith;he was forced to work there as a young boy.

[6] 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 town upon the seizure of their house. He was mediocre in some subjects at the high school but won prizes for drawing and music. [7] He worked for a lawyer and studied law, but "attempted a small perjury and sought refuge in the army," [8] serving for four years, starting in 1863. With his father's death, Rousseau moved to Paris in 1868 to support his widowed mother as a government employee. In 1868, he married Clémence Boitard, his landlord's 15 year-old daughter, with whom he had six children (only one survived). In 1871, he was appointed as a collector of the octroi tax on goods entering Paris. His wife died in 1888 and he married Josephine Noury in 1898. He started painting seriously in his early forties, and by age 49 he retired from his job to work on his art full time.

[9] Rousseau claimed he had "no teacher other than nature", [3] although he admitted he had received "some advice" from two established Academic painters , Félix Auguste Clément and Jean-Léon Gérôme . [10] Essentially he was self-taught and is considered to be a naïve or primitive painter. Paintings Self-portrait of the Artist with a Lamp His best known paintings depict jungle scenes, even though he never left France or saw a jungle. Stories spread by admirers that his army service included the French expeditionary force to Mexico are unfounded. His inspiration came from illustrated books and the botanical gardens in Paris , as well as tableaux of taxidermied wild animals. He had also met soldiers, during his term of service, who had survived the French expedition to Mexico and listened to their stories of the subtropical country they had encountered. To the critic Arsène Alexandre, he described his frequent visits to the Jardin des Plantes : "When I go into the glass houses and I see the strange plants of exotic lands, it seems to me that I enter into a dream." Along with his exotic scenes there was a concurrent output of smaller topographical images of the city and its suburbs.

He claimed to have invented a new genre of portrait landscape, which he achieved by starting a painting with a view such as a favourite part of the city, and then depicting a person in the foreground. Criticism and recognition Tiger in a Tropical Storm (Surprised!) (1891) was the first of many jungle scenes for which Rousseau is best known. Rousseau's flat, seemingly childish style was disparaged by many critics; people often were shocked by his work or ridiculed it. [5] [11] His ingenuousness was extreme, and he always aspired, in vain, to conventional acceptance.[ citation needed ] Many observers commented that he painted like a child, but the work shows sophistication with his particular technique. [3] [5] From 1886, he exhibited regularly in the Salon des Indépendants , and, although his work was not placed prominently, it drew an increasing following over the years.

Tiger in a Tropical Storm (Surprised!) was exhibited in 1891, and Rousseau received his first serious review, when the young artist Félix Vallotton wrote: "His tiger surprising its prey ought not to be missed; it's the alpha and omega of painting." Yet it was more than a decade before Rousseau returned to depicting his vision of jungles. [9] In 1893, Rousseau moved to a studio in Montparnasse where he lived and worked until his death in 1910. [12] During 1897, he produced one of his most famous paintings, La Bohémienne endormie ( The Sleeping Gypsy ). The Hungry Lion Throws Itself on the Antelope , 1905 During 1905, a large jungle scene The Hungry Lion Throws Itself on the Antelope was exhibited at the Salon des Indépendants near works by younger leading avant-garde artists such as Henri Matisse in what is now seen as the first showing of The Fauves . Rousseau's painting may even have influenced the naming of the Fauves.

[9] In 1907, he was commissioned by artist Robert Delaunay 's mother, Berthe, Comtesse de Delaunay, to paint The Snake Charmer. When Pablo Picasso happened upon a painting by Rousseau being sold on the street as a canvas to be painted over, the younger artist instantly recognised Rousseau's genius and went to meet him. In 1908 Picasso held a half serious, half burlesque banquet in his studio in Le Bateau-Lavoir in Rousseau's honour. After Rousseau's retirement in 1893, he supplemented his small pension with part-time jobs and work such as playing a violin in the streets. He also worked briefly at Le petit journal, where he produced a number of its covers. [9] The Dream (1910), MoMA Rousseau exhibited his final painting, The Dream , at the 1910 Salon des Independants a few months before his death on 2 September 1910 in the Hospital Necker in Paris .

[13] At his funeral, seven friends stood at his grave in the Cimetière de Bagneux : the painters Paul Signac and Manuel Ortiz de Zárate , the artist couple Robert Delaunay and Sonia Terk , the sculptor Brâncuşi , Rousseau's landlord Armand Queval and Guillaume Apollinaire who wrote the epitaph Brâncuşi put on the tombstone: We salute you Gentle Rousseau you can hear us. Delaunay, his wife, Monsieur Queval and myself. Let our luggage pass duty free through the gates of heaven. We will bring you brushes paints and canvas. That you may spend your sacred leisure in the light and Truth of Painting. As you once did my portrait facing the stars, lion and the gypsy. Legacy Rousseau's work exerted an "extensive influence ... on several generations of vanguard artists, starting with Picasso and including Jean Hugo , Léger , Beckmann and the Surrealists ," according to Roberta Smith, an art critic writing in The New York Times .

"Beckmann’s amazing self-portraits, for example, descend from the brusque, concentrated forms of Rousseau’s portrait of the writer Pierre Loti ". [9] The visual style of Michel Ocelot 's 1998 animation film Kirikou and the Sorceress is partly inspired by Rousseau, particularly the depiction of the jungle vegetation. [14] Critics have noted the influence of Rousseau on Wallace Stevens's poetry. See for instance Stevens's Floral Decorations for Bananas in the collection Harmonium . One of his works was used to be an inspiration for the animated film Madagascar . The song The Jungle Line by Joni Mitchell is based upon a Rousseau painting. [15] Exhibitions In 1911, a retrospective exhibition of Rousseau's works was shown at the Salon des Indépendants . His paintings were also shown at the first Blaue Reiter exhibition. Two major museum exhibitions of his work were held in 1984–85 (in Paris, at the Grand Palais; and in New York, at the Museum of Modern Art ) and in 2001 (Tübingen, Germany).

"These efforts countered the persona of the humble, oblivious naïf by detailing his assured single-mindedness and tracked the extensive influence his work exerted on several generations of vanguard artists," critic Roberta Smith wrote in a review of a later exhibition. [9] A major exhibition of his work, "Henri Rousseau: Jungles in Paris," was shown at Tate Modern from November 2005 for four months, organised by the Tate and the Musée d’Orsay , where the show also appeared. The exhibition, encompassing 49 of his paintings, was on display at the National Gallery of Art in Washington from July 16–October 15, 2006. A major collection of Rousseau's work were shown at The Grand Palais from March 15 to June 19, 2006. Gallery 1000+ images about Art: Henri Rousseau on Pinterest | Henri rousseau, Portrait and Self-portraits Henri Rousseau (1844 - 1910) | Naïve Art (Primitivism) | Portrait of Josephine the artist's second wife - 1903 See more

Question: Which French Post-Impressionist painter produced the works "Surprised!", "In a Tropical Forest", "Combat of a Tiger and a Buffalo" and "The Football Players"?
Answer: (Henri) Rousseau