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Courbet's paintings present commonplace realism.
Gustave Courbet (1819-1877) is considered to have introduced the practice of socially engaged painting, and he is viewed as one of the most important representatives of Realism. The direct and honest depictions of Realist painters challenged the idealized subject matter of academic painting and scandalized the Parisian society of the nineteenth century. Courbet became a leading figure of the rebellious artistic bohemia and cultivated a lively exchange with the predominant poets and artists of his era. However, he was not merely an anti-establishment provocateur; he significantly revolutionized landscape painting. With seven essays, this volume offers an introduction to selected aspects of the artist's life and work. His paintings will also inspire even those who may not be well versed in the world of art. Courbet's incredibly rich oeuvre and his exciting biography make him an artist worth discovering again and again.
A comprehensive reinterpretation of the pioneering and media-savvy artist The modern artist strives to be independent of the public's taste—and yet depends on the public for a living. Petra Chu argues that the French Realist Gustave Courbet (1819-1877) understood this dilemma perhaps better than any painter before him. In The Most Arrogant Man in France, Chu tells the fascinating story of how, in the initial age of mass media and popular high art, this important artist managed to achieve an unprecedented measure of artistic and financial independence by promoting his work and himself through the popular press. The Courbet who emerges in Chu's account is a sophisticated artist and entrepreneur who understood that the modern artist must sell—and not only make—his art. Responding to this reality, Courbet found new ways to "package," exhibit, and publicize his work and himself. Chu shows that Courbet was one of the first artists to recognize and take advantage of the publicity potential of newspapers, using them to create acceptance of his work and to spread an image of himself as a radical outsider. Courbet introduced the independent show by displaying his art in popular venues outside the Salon, and he courted new audiences, including women. And for a time Courbet succeeded, achieving a rare freedom for a nineteenth-century French artist. If his strategy eventually backfired and he was forced into exile, his pioneering vision of the artist's career in the modern world nevertheless makes him an intriguing forerunner to all later media-savvy artists.
This book looks at the life and work of Gustave Courbet, covering the cultural and historical importance of the artist, and features over 100 illustrations with explanatory captions.
The French Realist painter Gustave Courbet (1819-77), a pivotal figure in the emergence of modern painting, remains an artist whose interests, attitudes, and friendships are little understood. A voluminous correspondent, Courbet himself, through his letters, offers a tantalizing avenue toward a keener assessment of his character and accomplishments. In her critical edition of over six hundred of the artist's letters, Petra ten-Doesschate Chu presents just such a look at the inner life of the artist; her unparalleled feat of gathering together all of Courbet's known letters, many heretofore unpublished and untranslated, is sure to change our evaluation of Courbet's creativity and of his place in nineteenth-century French life. Beginning when Courbet left his provincial home at eighteen and ending eight days before his death in exile in Switzerland, this correspondence enables readers to follow the artist's development from youth to mature artist of international repute. Addressed to such varied and key figures of the Second Empire and the early Third Republic as Charles Baudelaire, Alfred Bruyas, Max Buchon, Champfleury, Pierre Dupont, Theophile Gautier, Victor Hugo, Claude Monet, the Comte de Nieuwerkerke, Pierre-Joseph Proudhon, Jules Simon, Jules Valles, and Francis Wey, Courbet's letters offer numerous insights into the artist's private and public personae, his work, and his participation in the cultural and political life of his day. They will encourage a rethinking of fixed notions about Courbet while they help to form a more nuanced picture of the artist's marketing strategies, his relation to the contemporary media, his deliberate choice of subject matter for Salon paintings, hispreoccupation with photography, and his reasons for participating in the Commune. The correspondence is also important for a better understanding of Courbet's work. The letters reveal that the artist produced an uninterrupted flow of portraits of family and friends, work unaccounted for today that appears to be as crucial to the development of Courbet's art as his larger, better-known paintings. Petra ten-Doesschate Chu, a recognized expert on nineteenth-century French art, has spent over ten years collecting, translating, and annotating these letters. Along with her annotations, she has provided this edition with an introduction, a detailed chronology, short biographies of Courbet's correspondents and persons appearing frequently in the letters, a list of paintings and sculptures mentioned in the letters, and an inventory of the letters and their whereabouts. The result is an invaluable cultural resource, as useful as it is readable, as illuminating as it is entertaining.
Ernst Beyeler (1921-2010) was a titan of the international art scene in the twentieth century. Born in Basel, Switzerland, he began his career as an apprentice in an antiquarian bookstore, eventually taking over the business and shifting his focus from books to dealing and collecting art. Through his discerning eye for art, his close relationships with many of the twentieth century's great artists, and his role in the foundation of Art Basel, the world's largest art fair, Beyeler transformed his hometown into a hub for international art. Published in English for the first time, A Passion for Art tells Beyeler's unusually personal story, through interviews with Christophe Mory. Beyeler describes the evolution of his career and his encounters with artists such as Picasso, Alberto Giacometti, and Francis Bacon. He also speaks in detail about his own collection, which focuses mainly on twentieth-century artists like Matisse, Mondrian, Klee, and Dubuffet. This art collection is the basis for the Fondation Beyeler, a museum designed by Renzo Piano that houses over 150 pieces of art handpicked by Beyeler. Offering deep insight into the contemporary art trade and presenting an intimate portrait of Beyeler himself, A Passion for Art provides a new and distinctive perspective on the postwar European art world.
How the French master of Realism launched an unvarnished and brooding vision of nature With a vehement, political commitment to Realism in art, French painter Gustave Courbet embraced the harsh beauty of the natural world in his landscapes. The French countryside and the islands of Lake Geneva are represented as Courbet himself saw them, with overcast skies and muddy beaches captured in rich dark tones, and limestone cliffs rendered with the sharp stroke of a palette knife. This volume presents a series of important pieces by Courbet, sourced mainly from the collections of the Gustave Courbet Institute and the Musée Courbet of Ornans, as well as artworks by other 19th-century painters influenced by his style. The publication also delves into the significant contributions of art critic George Besson and painter Guy Bardone, both of whom were dedicated to the preservation of Courbet's complicated legacy through the acquisition of the artist's birthplace in Ornans and the conservation of his art. Gustave Courbet(1819-77) eschewed the Romantic artistic conventions of his time and led 19th-century painting into the era of Realism. His paintings were strictly based on the world to hand, depicting typical laborers and unidealized landscapes with the severity of everyday reality. Controversial in France for both his art and his politics, Courbet was frequently the target of censorship, and he was briefly imprisoned for his involvement in an insurrection against the Parisian government. Courbet spent the last several years of his life in self-imposed exile in Switzerland.
With its fittingly dramatic design, Courbet and the Modern Landscape accompanies the first major museum exhibition specifically to address Gustave Courbet's extraordinary achievement in landscape painting. Many of these carefully selected works produced from 1855 to 1876--gathered from Asia, Europe, and North America--will be new to readers. The catalogue--which accompanies an exhibition at the Getty Museum to be held from February 21 to May 14, 2006--highlights the artist's expressive responses to the natural environment. Essays by the curators examine Courbet's distinctly modern practice of landscape painting. Mary Morton's essay situates his landscapes in relation to his work in other genres, his critical reputation, and his role in establishing a new pictorial language for landscape painting. Charlotte Eyerman's essay investigates how later generations of nineteenth- and twentieth-century artists responded to Courbet's example. The catalogue also includes an essay by Dominique de Font-Reaulx, curator of photographs at the Musee d'Orsay, on the relationship between Courbet's work and landscape photography of the 1850s and 1860s. With its fittingly dramatic design, Courbet and the Modern Landscape accompanies the first major museum exhibition specifically to address Gustave Courbet's extraordinary achievement in landscape painting. Many of these carefully selected works produced from 1855 to 1876--gathered from Asia, Europe, and North America--will be new to readers. The catalogue--which accompanies an exhibition at the Getty Museum to be held from February 21 to May 14, 2006--highlights the artist's expressive responses to the natural environment. Essays by the curators examine Courbet's distinctly modern practice of landscape painting. Mary Morton's essay situates his landscapes in relation to his work in other genres, his critical reputation, and his role in establishing a new pictorial language for landscape painting. Charlotte Eyerman's essay investigates how later generations of nineteenth- and twentieth-century artists responded to Courbet's example. The catalogue also includes an essay by Dominique de Font-Reaulx, curator of photographs at the Musee d'Orsay, on the relationship between Courbet's work and landscape photography of the 1850s and 1860s.