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ANIMAL ATTRACTION Schjeldahl, Peter
The New Yorker,
01/2006, Volume:
81, Issue:
42
Magazine Article
"Henri Rousseau is strange again, for reasons old and new. The 2006 Tate show in London, England spruces up familiar conundrums of a very good very bad painter whose achievements are canonical in ...most histories of modern art...The Paris avant-garde's only partly facetious embrace of Rousseau, backed by Picasso and promoted by Guillaume Apollinaire, was the climax of its trashing of academic qualifications...Imagination has less to do with his talent than is generally supposed, as the Tate proves by abundantly documenting the painter's sources in popular mediums of the time, including magazine illustration and taxidermy. Overly associated with the later rise of Surrealism, Rousseau now emerges as more a virtual collagist of existing images than a visionary, and even as a proto-Pop artist." (New Yorker) This review of the 2006 "Jungles in Paris" exhibition provides details of Rousseau's life and artistic accomplishments. His 1905 painting "The Hungry Lion Throws Itself on the Antelope" is described.
