Rosa Bonheur returned to her studio in the Rue d’Assas and immediately prepared her exhibits for the Universal Exposition of 1855. She was represented there by a Hay Harvest in Auvergne, which brought her the grand medal of honour.
From this time forward Rosa Bonheur ceased to exhibit at the Salons. She believed, and not without reason, that her reputation had nothing more to gain by these annual offerings, which interrupted her more productive work. She had given herself freely to the public; henceforth she sought only to satisfy the demands of the patrons of art, who, in daily increasing numbers, besieged her with their orders. She worked chiefly for the English, who had given her so warm a welcome, and who, perhaps, had a better sense than the French have, of the beauty of the life of the soil. The Frenchman, good judge that he is in matters of art, duly admires a beautiful work, regardless of its subject; he is able to appreciate the composition of an agricultural scene, but, being little inclined by nature to the work of the fields, he will rarely feel a desire to adorn the walls of his apartment with a Harvest Scene or Grazing Cattle; he assumes that it is the business of the museums to acquire pictures of this order. The Englishman is quite different. As a landed proprietor deeply attached to his ancestral acres, he appreciates paintings of rural life, less as an artist than professionally, as a gentleman-farmer who knows all the breeds of cattle and sheep and to whom Rosa Bonheur’s paintings were at this epoch veritable documents, quite as much as they were works of art.
In 1860, she gave up her studio in the Rue d’Assas, as well as the one at Chevilly, in order to install herself at By, in the chateau of By which she had purchased for 50,000 francs and in which she had a vast studio constructed. Hither she transferred her imposing menagerie which had grown year by year through new acquisitions. It included sheep, gazelles, stags, does, kids, an eagle, various other birds, horses, goats, watch dogs, hunting dogs, greyhounds, wild boars, lions, a yak (an animal known by the name of the grunting ox of Tartary), monkeys, parrakeets, marmosets, squirrels, ferrets, turtles, green lizards, Iceland ponies, moufflons, lizards, wild American mustangs, bulls, cows, etc.
Rosa Bonheur worked with desperate energy in the midst of her models and delighted in portraying them in a setting of some one of those picturesque and impressive vistas of the forest of Fontainebleau, adjacent to her own residence. She was unremittingly productive; yet France hardly heard her name mentioned save as an echo of her triumphs abroad. England has gone wild over her paintings; and America was not slow in following suit.
But the echo was so loud, especially after the Universal Exposition at London in 1862, that the government three years later made her Chevalier of the Legion of Honour. Rosa Bonheur has given her own account of the event:
“In 1865,” she writes, “I was busily engaged one afternoon over my pictures (I had the Stags at Long-Rocher on my easel), when I heard the cracking of a postillion’s whip and the rumble of a carriage. My little maid Félicité entered the studio in great excitement:
“‘Mademoiselle, mademoiselle! Her Majesty the Empress!’
“I had barely time to slip on a linen skirt and exchange my long blue blouse for a velvet jacket.