Abstract

This study takes as its point of departure a canvas by Rosa Bonheur containing a series of painted sketches of a lion cub, in order to approach her oeuvre from the perspective of animal biographies. The article focuses on the lion and lioness models frequented by the artist during her career. The aim is to shed light on the complexity of these relationships, starting from an analysis of the paintings and of the information about these animals to be found in several early biographies of Bonheur.