Rousseau (19) Henri Julien Felix Rousseau (1844-1910)
Henri Julien Felix Rousseau – Rousseau (19)
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Painter: Henri Julien Felix Rousseau
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Rousseau was a primitivist - he became an artist without any additional training, simply because he felt an inner urge. He had no teacher to show him the basics, and by trying, making mistakes, he discovered painting as an entirely new science, like alchemy. Where others had long passed without stumbling, he found new holes and fell on old bumps. Walking his way alone, he came to post-impressionism, in which primitivism looked not like an ugly encroachment on art (a primitivist-realist would look exactly like that), but like a logical development of the thought contained in it. After all, post-impressionism did not cling to a momentary feeling or to the fullest possible reflection of reality, but to the search for the basis of existence, the only answer to all questions.
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Description of Henri Rousseau’s painting "Self-Portrait" (Customs Officer)
Rousseau was a primitivist - he became an artist without any additional training, simply because he felt an inner urge. He had no teacher to show him the basics, and by trying, making mistakes, he discovered painting as an entirely new science, like alchemy. Where others had long passed without stumbling, he found new holes and fell on old bumps.
Walking his way alone, he came to post-impressionism, in which primitivism looked not like an ugly encroachment on art (a primitivist-realist would look exactly like that), but like a logical development of the thought contained in it.
After all, post-impressionism did not cling to a momentary feeling or to the fullest possible reflection of reality, but to the search for the basis of existence, the only answer to all questions. Just as mathematicians looked for a single formula for the universe that would explain everything, so the post-impressionists looked for that combination of movement and color. Trying all styles, mixing them and separating them back, they saw nothing wrong with primitivism.
Rousseau’s self-portrait differs from the portraits of his great predecessors. Those sought to portray themselves in as much detail as possible, so that posterity would not forget their appearances, whereas Rousseau portrayed himself almost satirically, as if joking kindly with himself. After all, officially, he was not an artist, but a customs officer, and that is how he is depicted - in the port, at the arriving steamer, decorated with colored flags.
Behind him is a bridge, a lonely man meets the steamer, the sky is all in clouds and a lonely airship flies across it. The sun is hidden, sending straight red glare, the city is visible in the distance, and Rousseau stands in the middle of everything, dressed in a dark suit, and holding a palette and brush - as if to symbolize his dream, which he himself has made into a reality for himself.
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Behind the figure unfolds a complex cityscape. Several tall-masted ships are visible, adorned with flags displaying various patterns – checkered, striped, and solid colors. A bridge spans the water, connecting buildings on either side. Further in the distance, structures rise towards a sky filled with billowing clouds and three hot air balloons. The perspective is flattened; depth is suggested through size rather than traditional linear techniques.
The painting’s subtexts are layered. The presence of flags evokes notions of national identity, exploration, or perhaps even colonial power – the variety suggests a confluence of cultures or influences. The ships themselves represent journeys and the potential for discovery. The hot air balloons introduce an element of aspiration and transcendence, hinting at a desire to rise above earthly concerns.
The artist’s inclusion of his own tools – the paintbrush and palette – is significant. It establishes the work as a self-portrait, but also functions as a meta-commentary on artistic creation itself. The inscription on the palette may be an indication of the artists name or a dedication, further emphasizing this reflexive quality.
The overall effect is one of deliberate construction and symbolic density. While seemingly straightforward in its depiction, the painting invites contemplation about identity, ambition, and the role of the artist within a broader cultural context. The juxtaposition of the individual figure with the expansive landscape suggests a relationship between personal endeavor and larger historical forces.