=Questions to arouse interest.= How many of you have ever attended a
horse fair? Where is this horse fair, and what kind of horses are they?
How are they controlled? What is the object of having a horse fair? How
many horses are represented in this picture? How many are in the same
position? Which are under the best control? Which have their ears back?
What does that indicate? Which horse is trying to throw his rider? Which
horse looks vicious? How is he controlled? What colors do you think they
are? What can you see in the background? Upon what part of the horses
does the light fall? What does this tell us of the position of the sun?
the time of day? Which horse has a blanket on his back? Why do you think
he is not entered for the prize? Which horse is the most lifelike? To
which one would you give the blue ribbon?
=Original Picture=: Metropolitan Museum, New York City.
=Artist=: Rosa Bonheur (bō nûr´).
=Birthplace=: Bordeaux, France.
=Dates=: Born, 1822; died, 1899.
=The story of the picture.= In this day of the automobile we do not hear
much about horse fairs. Of course, we still have our county fairs, but
there the horse is only a small part of the attraction. In many places
also horse markets are held where all kinds of horses are brought to be
sold, but these could hardly be compared to a horse fair, where only the
finest specimens are entered. In some of our large cities we have what
we call horse shows, which in a measure seem to have taken the place of
the old-fashioned horse fair. So we have the International Horse Show in
Madison Square Garden, New York City, one almost as large at Chicago,
Illinois, another at Olympia, Washington, one in Montreal, Canada, the
famous Horse Show in London, and others. But how unlike the scene
represented in this picture they are!
Imagine yourself in that largest of all show buildings, the Madison
Square Garden, New York City. Tier above tier the seats are arranged
around the central ring or drive, which in size and appearance is
similar to the usual outdoor race track. The seats extend around the
track except for a small space left for the entrance and exit, and are
arranged very much like the seats in a theater, having the box and
reserved seats nearest the stage or track. Each box is numbered and
catalogued so that you may know just which wealthy man or woman is
occupying that particular box.
Before the performance, or during the intermission, you may go about,
catalogue in hand, and see for yourself what these people, whom you have
read so much about, look like. In other words, this horse show has
become a society event, appealing to all classes of people, but more
especially to the rich.
All is carefully planned. A flourish of trumpets, and the man with the
megaphone announces the first number—perhaps a tallyho contest. More
trumpets, and in come the dashing six horses drawing the picturesque
tallyho. They have been driven a mile through Central Park before
entering the building, and it is to the horses found to be in the best
condition after this drive that the prize is to be given.
But scarcely have we looked at them when there is another flourish of
trumpets, and another tallyho arrives, sounding its bugle call. The
footmen descend and stand at the heads of the spirited horses while the
passengers alight. We have a fleeting glimpse of their fashionable
clothes; they have a moment’s rest, and then, when the judges have
examined the horses, up they climb to their high seats and at the signal
are driven slowly around the ring. Then others arrive, and soon all are
driving in a gay procession around the ring. The spectators applaud
enthusiastically while the spirited horses proudly arch their necks.
Then come the tandems, and horses and carriages of all kinds in order.
Then horses are exhibited in every form of activity—leaping, running,
pacing, and hurdling. After the show is over, perhaps we go to see the
horses in their stalls, but then we find ourselves in the minority, for
few spectators remain after the last horse leaves the track.
Would it not be pleasant now to go with Rosa Bonheur out into the great
field near that avenue of trees, and watch the men riding or leading
those powerful French dray horses before the judges? Horses like these
have been imported to our country, so we see them on our own streets
drawing heavy loads, and we know how strong and powerful they are.
There are more than twenty horses in this picture that we can count,
each in action, and yet no two are alike. The artist has made us feel
the perfect control man has over them. All the possibilities of a horse
of this kind are represented. Here we see the well-trained, perfectly
controlled horse going on cheerfully and steadily; there are some with
their ears back, showing annoyance and watchfulness; here a rearing
horse is trying to rid himself of his troublesome driver. That one at
the left of the picture is angry, perhaps vicious. His driver is unable
to manage him alone and it requires two men to control him. But they do
control him, and in every case man, through his intellect, is the
master.
Notice the colors of the horses: even a print of the picture tells us
that they are white, dappled, and black. When they return, surely many
of them will be wearing the blue ribbon.
At the right of the picture are several spectators who have gathered to
see the splendid horses.
Rosa Bonheur wished to draw these horses two thirds life size, and when
you consider the amount of space devoted to sky and ground, you will
realize that it required a very large canvas. We are told that she stood
upon a stepladder to paint parts of it.
She chose a part of Paris that would be easily recognized, showing the
dome of a well-known church and an avenue of trees just as we might see
them to-day. But we can scarcely realize the amount of time and patient
study it required before she could paint even one of these horses. She
went about with a sketchbook and made drawings of horses in all possible
positions, and persevered in this study for a year and a half before she
began this picture.
Her friends in Paris helped her all they could by lending her their fine
horses. But this was not enough,—she must visit horse fairs and markets
as often as possible. Sometimes the grooms made fun of her, and it was
hard for her to work, but she would not give up.
In the picture she has centered the interest upon the horses nearest to
us by painting them more in detail, showing even the muscles of their
strong, powerful bodies, and also by means of the light upon them, and
by their size. The light is high, falling upon the rounded backs and
upraised heads. The short shadows help us guess the time of day, which
must be about noon. The horse with the blanket on his back suggests to
us that the groom beside him intends to ride him when he returns after
leaving his noble charge.
There is a feeling of open air and space about this picture which adds
much to its charm. This is all the more remarkable, too, in a picture
containing so many horses, since it might easily have appeared crowded.
The “Horse Fair” was bought for fifty-two thousand dollars by Cornelius
Vanderbilt, who presented it to the Metropolitan Museum, New York City.
Most American critics consider this Rosa Bonheur’s masterpiece, although
the French claim that honor for “Plowing in Nivernais,” the original of
which is hung in the Luxembourg Gallery in Paris.
=Questions to help the pupil understand the picture.= Where do we go to
see fine horses? What has taken the place of horses and horse fairs?
Where are our largest horse shows? How do they differ from the horse
fair in this picture? Tell about the horse show at Madison Square
Gardens, New York. Compare it with the “Horse Fair.” Where is each held?
What kind of people attend? Why did Rosa Bonheur choose this particular
location for her painting? What preparation did she make before
beginning this picture? For what purpose are these French horses used in
the United States? How many horses are represented in this painting? Why
does it not seem crowded? How near life size did Rosa Bonheur paint
these horses? What did she stand on while painting? why? What can you
tell of the dispositions of these horses? In what way is man always the
master? Upon which horses has the artist centered the interest? How has
she done this? What time of day is it? Why do you think so? Where may we
see this painting?
=To the Teacher=: