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119:, whom they had befriended, but was saved, against her will, by the princess, who made a false declaration as to her condition. She had two subsequent husbands, and lost them both in little more than two years. She herself lived less than five years after her delivery by the fall of
47:. There has been some controversy among the authorities as to the respective shares of father and son in these works, but many of the attributions are fairly determined by dates, Jules Antoine Rousseau having been at work at Versailles for years before the birth of his famous son.
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Jean Simeon studied at the
Academie Royale, where in September 1768 he won the medal given to the best painter of the quarter. Together with his brother Jules Hugues, he was employed from an early date by his father for the decorative work executed by the family at the
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were among the achievements which there can be little doubt were shared in by
Rousseau de la Rottière. His most individual and most famous undertaking was, however, the decoration of the Boudoir de Madame de Sévilly, now at the
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The date of the room is assigned to 1781-82, and
Rousseau's authorship of much of its decoration is rendered certain by a sketch of his which still survives. The decoration was inspired to themes taken from the excavations of
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63:. The Seigneur de Sévilly, who was hereditary Trésorier Général de l'Extraordinaire des Guerres under Louis XVI, married his cousin Anne Marie Louise de Pange, a favorite maid-of-honor of
103:. The tall narrow panels are painted in medallions with amorini; festoons and bouquets of flowers fill every available space; the shutters are painted with doves and shepherdesses.
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enthroned within a deep blue border. It is a melancholy reflection that M. de Sévilly, whom his wife and Marie
Antoinette combined to surprise with this chefdoeuvre, was
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34:). The territorial addition to his patronymic ("de la Rottiere") has never been explained, but it is known to have been in use when he was little more than a boy.
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in 1869. The wall paintings of this sumptuous room came from the hand of
Rousseau de la Rottière; the overdoor and part of the ceiling were executed by
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59:. This little room, measuring 4 x 3 m and almost 5 m high, was removed from the house in the Rue de Saint Louis, in
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The Bains du Roi, the Salon de la Méridienne, part of the bedchamber of Madame
Adelaide, and the Garde-robe of King
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30:(1747–1820) was a French decorative painter. He was the youngest son of Jules Antoine Rousseau (
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107:'s pictures in the upper lunettes represent the elements; upon the ceiling is
194:. Vol. 23 (11th ed.). Cambridge University Press. pp. 779–780.
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figures of aged men on either side of the fireplace were sculptured by
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This article incorporates text from a publication now in the
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Door panel from the "Cabinet Turc" of Comte d'Artois at
Versailles
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186:Rousseau de la Rottière, Jean Siméon
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239:18th-century French male artists
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219:19th-century French painters
209:18th-century French painters
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16:French painter (1747–1820)
191:Encyclopædia Britannica
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214:French male painters
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61:Le Marais
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109:Jupiter
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85:marble
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