Leaving the Forest, Fontainebleau: Setting Sun

This evocative landscape painting by Théodore Rousseau offers a captivating glimpse into the artist's profound connection with nature and his pivotal role in the development of 19th-century French landscape painting. Rendered in oil on fabric, the piece portrays a dense forest scene with towering, ominous trees that dominate the composition, creating an enclosed and almost mystical atmosphere. The interplay of light and shadow creates a complex, almost foreboding atmosphere. The dappled light filtering through the dense canopy casts eerie patterns on the forest floor, suggesting a world where beauty and danger coexist. The deep, impenetrable shadows lurking between the trees hint at hidden mysteries or unseen threats. This chiaroscuro effect not only adds depth and dimension to the scene but also infuses it with a palpable tension, as if the forest itself harbors secrets or stands as a silent witness to the relentless cycle of growth and decay in nature.

Rousseau's journey as an artist is deeply intertwined with this work, reflecting both his artistic growth and his perseverance through periods of rejection. From 1836 to 1841, all of Rousseau's works were refused by the official Salon, as the jury favored a more classical approach to landscape painting. This period of artistic exile earned him the moniker "le grand refusé" (the great refused one). Despite this setback, Rousseau remained steadfast in his artistic vision, continuing to paint and refine his naturalistic style. His dedication to capturing the essence of nature through direct observation and plein-air studies, as exemplified in this forest scene, ultimately proved influential. After years of exclusion, Rousseau's work finally gained recognition, culminating in a first-class medal at the 1849 Salon. This painting stands as a testament to Rousseau's unwavering commitment to his artistic principles, showcasing the very qualities that initially led to his rejection but eventually secured his place as a key figure in the Barbizon School and a forerunner of Impressionism.