![]() After that date, however, and despite royal patronage of Rousseau, the Salon jury was arbitrary in its judgment of his pictures. (For a characteristic example of the former mode by Jean-Victor Bertin, see The Met 2003.42.3.) In 1831, Rousseau’s first submission to the official state-sponsored exhibition held annually in Paris, known as the Salon, was accepted. He was alternately hailed and reviled for an aesthetic that avoided the idiom of classicizing idealization in favor of a more direct naturalism. Rousseau’s preference in art was for seventeenth-century Dutch landscapes and recent British painters, notably John Constable, but his work was directly inspired by his travels through the French countryside. The latter’s regime, known as the July Monarchy, came into power following the Revolution of 1830, the very subject commemorated by Delacroix’s Liberty Leading the People. He was soon embraced by the better established painter Ary Scheffer (1795–1858), who displayed the unknown artist’s works in his studio and introduced him to his circle of artists and patrons, including Ferdinand-Philippe, Duc d’Orléans (1810–1842), eldest son of King Louis-Philippe (r. The experience had a liberating effect on the eighteen-year-old painter, who effectively declared independence from the academic strictures of his artistic education. The critic Paul Mantz (1821–1895) wrote of Rousseau in 1867 that “He is Europe’s leading landscapist, and, because of this, landscape, which was formerly considered a secondary genre, is ranked on a par with history painting.” In 1830, Rousseau undertook an extended sketching expedition to the Auvergne region of central France. Also characteristic are the paintings of Théodore Rousseau, who, parallel to Camille Corot (1796–1875), played a crucial role in the elevation of landscape subjects as an independent genre of painting in the decades before Impressionism. Equally representative are the trenchant pictures of modern urban life seen in caricatures by Honoré Daumier (1808–1879) that appeared in the Parisian daily press. ![]() Its emblem is Liberty Leading the People, a battle scene painted in 1830 by Eugène Delacroix (1798–1863) and now in the Musée du Louvre, Paris. From Romanticism to Barbizon-Rousseau in his Time: For much of the nineteenth century and well into the twentieth, the term “Men of 1830” resonated with enthusiasts of modern art by linking the democratic spirit that fueled the final overthrow of the Bourbon monarchy with the Romantic movement in France and subsequent waves of artistic innovation. ![]()
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