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  1. Théodore Rousseau. Étienne Pierre Théodore Rousseau (April 15, 1812 – December 22, 1867) was a French painter of the Barbizon school . Les chênes d' Apremont (Oak Grove, Apremont), 1850-1852. Life. Youth. He was born in Paris, France in a bourgeois family. At first he received a basic level of training, but soon displayed aptitude for painting.

  2. View all 145 artworks. Theodore Rousseau lived in the XIX cent., a remarkable figure of French Realism. Find more works of this artist at Wikiart.org – best visual art database.

    • French
    • April 15, 1812
    • Paris, France
    • December 22, 1867
  3. Théodore Rousseau was known for his exceptional and unconventional nature based paintings. He was highly regarded as a pioneer and a leader of the Barbizon School of landscape art.

    • French
    • April 15, 1812
    • Paris, France
    • December 22, 1867
  4. Apr 11, 2024 · Théodore Rousseau (born April 15, 1812, Paris, France—died December 22, 1867, Barbizon) was a French painter who was a leader of the Barbizon school of landscape painters. His direct observation of nature made him an important figure in the development of landscape painting.

    • The Editors of Encyclopaedia Britannica
  5. Théodore Rousseau was born in 1812 in Paris, the son of a tailor from the Jura region. Sent at thirteen to his father's native province, to do office work at a sawmill, he learned to know and love the forests of the Jura. On his return to Paris, having decided to become a landscape painter, he studied briefly with Charles Rémond (1795-1875 ...

  6. Provenance. Exhibition History. References. Loan Restrictions. Title: The Forest in Winter at Sunset. Artist: Théodore Rousseau (French, Paris 1812–1867 Barbizon) Date: ca. 1846–67. Medium: Oil on canvas. Dimensions: 64 x 102 3/8 in. (162.6 x 260 cm) Classification: Paintings. Credit Line: Gift of P. A. B. Widener, 1911. Accession Number: 11.4.

  7. Offering a behind-the-scenes look into the development of Unruly Nature: The Landscapes of Théodore Rousseau, paintings curator Scott Allan considers how his evolving thinking about this fascinating 19th-century artist shaped the exhibition and informed its installation design.

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