Stanislas-Henri Rouart was born in Paris in 1833. Condisciple of Edgar Degas at the Louis-le-Grand high school, he first led a scientific and industrial career. Engineer, inventor and entrepreneur, he worked in particular on mechanical processes, metallurgy and refrigeration systems. This activity gave him material independence which allowed him to paint without seeking an official career. Trained with Corot and Millet, Rouart developed a practice attentive to landscape, banks, architecture and daily life. Trained with Corot and Millet, Rouart developed a practice attentive to landscape, banks, architecture and daily life. The war of 1870 brought him closer to Degas, with whom he served in the artillery. From 1870, he developed a practice attentive to landscape, banks, architecture and daily life. Trained with Corot and Millet, Rouart developed a practice attentive to landscape, banks, architecture and daily life. Trained with Corot and Millet, Rouart developed a practice attentive to landscape, banks, architecture and daily life. The war of 1870 brought him closer to Degas, with whom he served in the artillery. From 1874, he participated in almost impressionist exhibitions and plays a concrete role in their organization. His mansion on rue de Lisbonne became a meeting place for artists, writers and musicians. Rouart is also one of the great collectors of his time. It brings together works by Ingres, Delacroix, Corot, Millet, Daumier, Degas, Manet, Monet, Renoir, Morisot and many others, supporting his friends with faithful purchases. This familiarity with the masters does not prevent him from maintaining a personal, modest and structured voice. This familiarity with the masters does not prevent him from maintaining a personal, modest and structured voice. This familiarity with the masters does not prevent him from maintaining a personal, modest and structured voice. This familiarity with the masters does not prevent him from maintaining a personal, modest and structured voice. This familiarity with the masters does not prevent him from maintaining a personal, modest and structured voice. This familiarity with the masters does not prevent him from maintaining a personal, modest and structured voice. This familiarity with the masters does not prevent him from maintaining a personal, modest and structured voice. This familiarity with the masters does not prevent him from maintaining a personal, modest and structured voice. This familiarity with the masters does not prevent him from maintaining a in air and water. The plans remain solid, but the touch and light soften the architecture. Woman with a green dress reveals another facet: the color of the garment organizes the figure and the space with a sobriety close to Degas. Rouart traveled to Italy and painted Venice in particular, while returning to the landscapes of Île-de-France. Died in 1912, he left a work long eclipsed by his collection. The spectacular sale of this then dispersed hundreds of masterpieces. His role appears today in all its richness: he was not only the patron of the Impressionists, but one of their exhibitors and an authentic painter of everyday modernity. There selection "Henri Rouart" notably compares Scène de ville and La Terrasse au bord de la Seine in Melun. His reading favors space.
Rouart looks like an engineer without painting like a technician: bridge, terrace and street are solidly built, then the air, water and touch give them back their mobility.
