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Gustave Courbet

French Painter

Gustave Courbet Photo
Born: June 10, 1819
Ornans, Doubs, France
Died: December 31, 1877
La Tour-de-Peilz, Switzerland
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All I have tried to do is to derive, from a complete knowledge of tradition, a reasoned sense of my own independence and individuality.
Gustave Courbet Signature

Summary of Gustave Courbet

Gustave Courbet was central to the emergence of Realism in the mid-19th century. Rejecting the classical and theatrical styles of the French Academy, his art insisted on the physical reality of the objects he observed - even if that reality was plain and blemished. A committed Republican, he also saw his Realism as a means to champion the peasants and country folk from his home town. He has long been famous for his response to the political upheavals which gripped France in his lifetime, and he would die in exile in Switzerland when he was found responsible for the cost of rebuilding of Paris' Vendome Column. More recently, however, historians have also seen his work as an important prelude to other artists of early modernism such as Édouard Manet and Claude Monet.

Key Ideas

Biography of Gustave Courbet

Gustave Courbet Photo

Born in the summer of 1819 in the small rural town of Ornans, near the French Alps, Courbet grew up in a picturesque environment with a supportive family. He enjoyed vigorous physical activities, like swimming with his sisters in the Loue River and playing in the family's pastures and vineyards. At school Courbet relished being the center of attention and entertaining his classmates with his wit and charm.

Important Art by Gustave Courbet

Burial at Ornans (1849)

Burial at Ornans (1849)

This 22 foot long canvas situated in a main room at the Musee d'Orsay buries the viewer as if he or she were in a cave. In a decidedly non-classical composition, figures mill about in the darkness, unfocused on ceremony. As a prime example of Realism, the painting sticks to the facts of a real burial and avoids amplified spiritual connotations. Emphasizing the temporal nature of life, Courbet intentionally did not let the light in the painting express the eternal. While sunset could have expressed the great transition of the soul from the temporal to the eternal, Courbet covered the evening sky with clouds so the passage of day into night is just a simple echo of the coffin passing from light into the dark of the ground. Some critics saw the adherence to the strict facts of death as slighting religion and criticized it as a shabbily composed structure with worn-faced working folk raised up to life-size in a gigantic work as if they had some kind of noble importance. Other critics such as Proudhon loved the inference of equality and virtue of all people and recognized how such a painting could help turn the course of Western art and politics.

The Bathers (1853)

The Bathers (1853)

This is one of the best examples of Courbet's non-classical treatment of nudes. In this eight foot tall painting two women are partially naked without any mythological justification or rhetoric, rendered naturally and not idealized. The painting was poorly received, with Delacroix seeing no excuse for these "naked and fat bourgeoisie.. buttocks, and meaningless gestures." But rather than being negative, the attention was good publicity, and Courbet sold the work in spite of the criticisms.

The Meeting or Bonjour Monsieur Courbet (1854)

The Meeting or Bonjour Monsieur Courbet (1854)

In this large work Courbet painted himself meeting Alfred Bruyas, a key patron and supporter. The painting expresses the collector's appreciation of the genius of Courbet. As an extension of Bruyas, the servant is caught in the greatest gesture of respect, but the key point is this moment of mutual appreciation between artist and patron. As expressions of great intellect and importance, Courbet's head is tilted back slightly and he is the one standing directly in unfiltered light.

At the same time, Courbet's self-importance shines through on this canvas. His beard points at the patron as if in judgement. The artist also carries a stick that is double the size of the one that his patron supports himself on - another allusion to the strength of the artist.

More Important Art
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Content compiled and written by Stephen Knudsen

Edited and published by The Art Story Contributors

"Gustave Courbet Artist Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Stephen Knudsen
Edited and published by The Art Story Contributors
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First published on 21 Feb 2010. Updated and modified regularly
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