Gustave Courbet and artworks

Patrick Bade

Description

Ornans, Courbet’s birthplace, is near the beautiful valley of the Doubs River, and it was here as a boy, and later as a man, that he absorbed the love of landscape.He was by nature a revolutionary, a man born to oppose existing order and to assert his independence; he had that quality of bluster and brutality which makes the revolutionary count in art as well as in politics. In both directions his spirit of revolt manifested itself. He went to Paris to study art, yet he did not attach himself to the studio of any of the prominent masters. Already in his country home he had had a little instruction in painting, and preferred to study the masterpieces of the Louvre. At first his pictures were not sufficiently distinctive to arouse any opposition, and were admitted to the Salon. Then followed the Funeral at Ornans, which the critics violently assailed: “A masquerade funeral, six metres long, in which there is more to laugh at than to weep over.” Indeed, the real offence of Courbet’s pictures was that they represented live flesh and blood. They depicted men and women as they really are and realistically doing the business in which they are engaged. His figures were not men and women deprived of personality and idealised into a type, posed in positions that will decorate the canvas. He advocated painting things as they are, and proclaimed that la vérité vraie must be the aim of the artist. So at the Universal Exposition of 1855 he withdrew his pictures from the exhibition grounds and set them in a wooden booth, just outside the entrance. Over the booth he posted a sign with large lettering. It read, simply: “Courbet – Realist.” Like every revolutionary, he was an extremist. He ignored the fact that to every artist the truth of nature appears under a different guise according to his way of seeing and experiencing. Instead, he adhered to the notion that art is only a copying of nature and not a matter also of selection and arrangement. In his contempt for prettiness Courbet often chose subjects which may fairly be called ugly. But that he also had a sense of beauty may be seen in his landscapes. That sense, mingled with his capacity for deep emotion, appears in his marines – these last being his most impressive work. Moreover, in all his works, whether attractive or not to the observer, he proved himself a powerful painter, painting in a broad, free manner, with a fine feeling for colour, and with a firmness of pigment that made all his representations very real and stirring.

Sujets

• Realism
• Painting
• French
• Art
• Pictorial
• Painter
• Positivism
• Erotic art
• Materialism
• Artist
• Courbet
• Peinture

Informations

• Publié par: Parkstone International
• Date de parution: 04 juillet 2023
• Nombre de lectures: 0
• EAN13: 9781781608470
• Langue: English
• Poids de l'ouvrage: 1 Mo

Extrait

Patrick Bade




GUSTAVE
COURBET
and artworks
© 2022, Confidential Concepts, Worldwide, USA
© 2022, Parkstone Press USA, New York
© Image-Bar www.image-bar.com
All rights reserved. No part of this may be reproduced or adapted without the permission of the copyright holder, throughout the world.
Unless otherwise specified, copyright on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case, we would appreciate notification.
ISBN: 978-1-78160-847-0
Contents
BIOGRAPHY
LIST OF ILLUSTRATIONS
A
After Dinner at Ornan s, 1849
Almsgiving from a Beggar in Ornan s, 1868
The Awakenin g, 1866
B
Beach in Normand y, 1869
The Bather s, 1853
The Beach at Trouville at Low Tid e, 1865
The Black Wel l, 1869
The Blue Sourc e, 1872
A Burial at Ornan s, 1850
The Bridge at Ambressu m, 1857
The Bridge of Fleurie r, 1873
The Bridg e, 1864
C
The Cave de la Lou e, 1864
The Celli st, 1847-1848
Chillon Castl e, 1874
The Charente at Port-Bertea u, 1862
The Cliff of Étretat after the Stor m, 1869
The Covered Stream or The Stream of the Black Wel l, 1865
Crumbling Rocks, 1864
D
Deer Reserve at Plaisir-Fontain e, 1866
Dressing the Dead Gir l, c. 1850
The Diligence in the Sno w, 1860
The Draughts Player s, 1844
E
The Encounter or Bonjour Monsieur Courbe t, 1854
F
Fantastic View of Amorphous Rock s, c. 1865
Fishing Boa t, 1865
Flower s, 1861
G
The German Hunte r, 1859
The Girl with the Seagulls, Trouvill e, 1865
The Grain Sifter s, 1855
Grape Harvest in Ornans at Roche du Mon t, 1849
Guitarrer o, 1844
The Gour de Conche, 1864
H
The Hammoc k, 1844
Hunter on horsebac k, 1867
Hunters in the Sno w, 1867
The Homecomin g, c.1854
The Hunting Lunc h, 1858
J
Jo, the Beautiful Irish Gir l, 1866
K
Killing the Deer or Scene of a Hunt in the Sno w, 1867
L
The Lady of Frankfur t, 1858
Large Oak Trees by the waterside, Port-Bertea u, 1862
Landscape with Sno w, 1868
Le Château d’Ornan s, c.1855
Loth and his Daughter s, 1844
Lovers in the Countr y, 1844
The Lock of the Lou e, 1865
M
Man Filled with Fea r, c. 1843-1845
Marin e, 1866
Mother Grégoir e, 1855
O
Origin of the Worl d, 1866
The Oak Tree of Flagey, also called Oak Tree of Vercingetori x, 1864
The Old Mil l, c. 1875
P
The Painter's Studio: A Real Allegory Summing up Seven Years of my Artistic and Moral Life
Panorama of the Alps, La Dent du Mid i, 1877
The Peasants of Flagey Returning from the Fair (Doubs ), 1850
The Pirate Held Prisoner by the Dey of Algier s, 1844
Portrait of a Lady with a Parro t, 1861
Portrait of a Young Woma n, 1842
Portrait of Alfred Bruya s, 1853
Portrait of Baudelair e, 1848
Portrait of Gabrielle Borreau, 1862
Portrait of Juliette Courbet, 1845
Portrait of Laure Borrea u, 1863
Portrait of Madame Braye r, 1858
Portrait of Marc Trapadou x, c.1849
Portrait of Mathilde Cuo q, 1857
Portrait of Pierre Dupont, 1868
Portrait of Pierre-Joseph Proudhon and his Childre n, 1865
Portrait of Régis Courbet, 1873
Portrait of the Artist known as The Desperat e, c.1843-1845
Portrait of the artist or The Man with Leather Be lt, 1846
Portrait of the Countess Palma Karol y, 1865
The Poor Village Lady, Ornan s, 1866
Q
The Quarry
R
Reflexion or Meditatio n, 1864
The Rock of Hautepierr e, c.1869
The Rus e, 1866
S
The Sarrazine Cav e, 1864
Self-Portrait at Sainte-Pélagi e, c. 1873
Self-Portrait with Black Do g, c. 1844
Self-Portrait: Man with Pip e, 1848-1849
Sleep, 1866
Still Life – Apple s, 1871-1872
Still Life with Apples and Pomegranat e, 1871-1872
Still-life – Flower s, 1863
Still-life – Fruit s, 1871-1872
Study for one of the Young Ladies on the Banks of the Sein e, 1856
Study for the Return of the Conferenc e, 1862
Study for The Young Ladies of the Villag e, 1851
Sunset on Lake Lema n, 1874
The Se a, 1872
The Sleeping Spinne r, 1853
The Somnambulis t, 1865
The Source of the Lou e, 1864
The Source of the Lou