Gustave Courbet

Gustave Courbet

Gustave Courbet (portrait by Nadar).

Birth name Jean Dsir Gustave Courbet
10 June 1819
Born
Ornans, Doubs, France
31 December 1877 (aged 58)
Died
La Tour-de-Peilz, Switzerland
Nationality French
Field
Painting, Sculpting
Training
Antoine-Jean Gros
Movement Realism
A Burial At Ornans (1849-1850)
Works
L'Origine du monde (1866)
Patrons
Alfred Bruyas
Influenced Whistler, Czanne, Hopper
Gold-Medal winner - 1848 Salon;
Awards
Nominated to receive the French Legion
of Honor in 1870, - Refused.
Jean Dsir Gustave Courbet (10 June 1819 31 December 1877) was a French painter who
led the Realist movement in 19th-century French painting. The Realist movement bridged the
Romantic movement (characterized by the paintings of Thodore Gricault and Eugne
Delacroix), with the Barbizon School and the Impressionists. Courbet occupies an important

place in 19th century French painting as an innovator and as an artist willing to make bold social
commentary in his work.

I am fifty years old and I have always lived in freedom; let me end my l

Contents
[hide]

1 Realism

2 Biography
o 2.1 A Burial at Ornans
o 2.2 The Artist's Studio
o 2.3 Notoriety
o 2.4 Exile and death

3 Influence

4 Pupils

5 Notable exhibitions

6 Gallery

7 See also

8 Notes

9 References

10 Further reading

11 External links

[edit] Realism

Plage de Normandie. (c. 1872/1875). Washington D.C.: National Gallery of Art.

Courbet painted figurative compositions, landscapes, seascapes, and still-lifes. He courted
controversy by addressing social issues in his work, and by painting subjects that were
considered vulgar, such as the rural bourgeoisie, peasants and working conditions of the poor.
His work belonged neither to the predominant Romantic nor Neoclassical schools. History
painting, which the Paris Salon esteemed as a painter's highest calling, did not interest Courbet,
who stated that "the artists of one century [are] basically incapable of reproducing the aspect of a
past or future century ..."[2] Instead, he believed that the only possible source for a living art is the
artist's own experience.[2]
His work, along with the work of Honor Daumier and Jean-Franois Millet, became known as
Realism. For Courbet realism dealt not with the perfection of line and form, but entailed
spontaneous and rough handling of paint, suggesting direct observation by the artist while
portraying the irregularities in nature. He depicted the harshness in life, and in so doing
challenged contemporary academic ideas of art.

[edit] Biography
Courbet was born in 1819 to Rgis and Sylvie Oudot Courbet in Ornans (Doubs). Though a
prosperous farming family, anti-monarchical feelings prevailed in the household. (His maternal
grandfather fought in the French Revolution.) Courbet's sisters, Zo, Zlie and Juliette, were his
first models for drawing and painting. After moving to Paris he returned home to Ornans often to
hunt, fish and find inspiration.[3]
He went to Paris in 1839 and worked at the studio of Steuben and Hesse. An independent spirit,
he soon left, preferring to develop his own style by studying Spanish, Flemish and French
painters and painting copies of their work.

Self-portrait (The Desperate Man), c. 18431845 (Private collection)

His first works were an Odalisque suggested by the writing of Victor Hugo and a Llia
illustrating George Sand, but he soon abandoned literary influences for the study of real subject
matter. Among his paintings of the early 1840s are several self-portraits, Romantic in conception,
in which the artist portrayed himself in various roles. These include Self-Portrait with Black Dog
(c. 18421844, accepted for exhibition at the 1844 Paris Salon), the theatrical Self-Portrait which
also known as Desperate Man (c. 184345), Lovers in the Countryside (1844, Muse des BeauxArts, Lyon), The Sculptor (1845), The Wounded Man (18441854, Muse d'Orsay, Paris), The
Cellist, Self-Portrait (1847, Nationalmuseum, Stockholm, shown at the 1848 Salon), and The
Man with a Pipe (c. 18481849, Muse d'Orsay, Paris).
Trips to the Netherlands and Belgium in 18461847 strengthened Courbet's belief that painters
should portray the life around them, as Rembrandt, Hals and other Dutch masters had. By 1848,
he had gained supporters among the younger critics, the Neo-romantics and Realists, notably
Champfleury.[4]
Courbet achieved greater recognition after the success of his painting After Dinner at Ornans at
the Salon of 1849. The work, reminiscent of Chardin and Le Nain, earned Courbet a gold medal
and was purchased by the state.[5] The gold medal meant that his works would no longer require
jury approval for exhibition at the Salon[6]an exemption Courbet enjoyed until 1857 when the
rule changed).[7]
In 1849 Courbet painted Stone-Breakers, which was destroyed in the British bombing of Dresden
in 1945, which Proudhon admired as an icon of peasant life, and has been called "the first of his
great works".[8] The painting was inspired by a scene Courbet witnessed on the roadside. He later
explained to Champfleury and the writer Francis Wey, "It is not often that one encounters so
complete an expression of poverty and so, right then and there I got the idea for a painting. I told
them to come to my studio the next morning."[8]

[edit] A Burial at Ornans

Main article: A Burial At Ornans

Gustave Courbet, A Burial at Ornans, 1849-1850, oil on canvas, 314 x 663 cm.(123.6 x 261
inches), Musee d'Orsay, Paris. Exhibition at the 18501851 Paris Salon created an "explosive
reaction" and brought Courbet instant fame.[9]
The Salon of 18501851[10] found him triumphant with Stone-Breakers, the Peasants of Flagey
and A Burial at Ornans. The Burial, one of Courbet's most important works, records the funeral
of his grandfather[11] which he attended in September 1848. People who attended the funeral were
the models for the painting. Previously, models had been used as actors in historical narratives,
but in Burial Courbet said he "painted the very people who had been present at the interment, all
the townspeople". The result is a realistic presentation of them, and of life in Ornans.
The painting, which drew both praise and fierce denunciations from critics and the public,
measures 10 by 22 feet (3.1 by 6.6 meters), depicting a prosaic ritual on a scale which previously
would have been reserved for a religious or royal subject.
According to art historian Sarah Faunce, "In Paris the Burial was judged as a work that had
thrust itself into the grand tradition of history painting, like an upstart in dirty boots crashing a
genteel party, and in terms of that tradition it was of course found wanting."[12] The painting lacks
the sentimental rhetoric that was expected in a genre work: Courbet's mourners make no
theatrical gestures of grief, and their faces seemed more caricatured than ennobled. The critics
accused Courbet of a deliberate pursuit of ugliness.[12]
Eventually, the public grew more interested in the new Realist approach, and the lavish, decadent
fantasy of Romanticism lost popularity. The artist well understood the importance of the
painting. Courbet said of it, "The Burial at Ornans was in reality the burial of Romanticism."
Courbet became a celebrity, and was spoken of as a genius, a "terrible socialist" and a "savage".
[12]
He actively encouraged the public's perception of him as an unschooled peasant. While his
ambition, his bold pronouncements to journalists, and his insistence on depicting his own life in
his art gave him a reputation for unbridled vanity.[12]
Courbet associated his ideas of realism in art with political anarchism, and, having gained an
audience, he promoted democratic and socialist ideas by writing politically motivated essays and

dissertations. His familiar visage was the object of frequent caricature in the popular French
press.
To a friend in 1850 he wrote,

...in our so very civilized society it is necessary for me to live the life of

During the 1850s Courbet painted numerous figurative works using common folk and friends as
his subjects, such as Village Damsels (1852), the Wrestlers (1853), Bathers (1853), The Sleeping
Spinner (1853) and The Wheat Sifters (1854).

[edit] The Artist's Studio

The Artist's Studio (L'Atelier du peintre): A Real Allegory of a Seven Year Phase in my Artistic
and Moral Life, 1855, 359 598 cm (141.33 235.43 in), oil on canvas, Muse d'Orsay, Paris
In 1855, Courbet submitted fourteen paintings for exhibition at the Exposition Universelle. Three
were rejected for lack of space, including A Burial at Ornans and his other monumental canvas
The Artist's Studio.[14]
Refusing to be denied, Courbet took matters into his own hands. He displayed forty of his
paintings, including The Artist's Studio, in his own gallery called The Pavilion of Realism which
was a temporary structure that he erected next door to the official Salon-like Exposition
Universelle.[14] Although artists like Eugne Delacroix were ardent champions of his effort, the
public went to the show mostly out of curiosity and to deride him. Attendance and sales were
disappointing,[15] but Courbet's status as a hero to the French avant-garde became assured. He
was admired by the American James McNeill Whistler, and he became an inspiration to the
younger generation of French artists including douard Manet and the Impressionist painters.
The painting was recognized as a masterpiece by Delacroix, Baudelaire, and Champfleury.

The work is an allegory of Coubet's life as a painter, seen as an heroic venture, in which he is
flanked by friends and admirers on the right, and challenges and opposition to the left. Friends on
the right include the art critics Champfleury, and Charles Baudelaire, and art collector Alfred
Bruyas. On the left are figures (priest, prostitute, grave digger, merchant and others) who
represent what Courbet described in a letter to Champfleury as "the other world of trivial life, the
people, misery, poverty, wealth, the exploited and the exploiters, the people who live off
death."[16]
In the foreground of the left-hand side is a man with dogs, who was not mentioned in Courbet's
letter to Champfleury. X-rays show he was painted in later, but his role in the painting is
important: he is an allegory of the then current French Emperor, Napoleon III, identified by his
famous hunting dogs and iconic twirled moustache. By placing him on the left, Courbet publicly
shows his disdain for the emperor and depicts him as a criminal, suggesting that his "ownership"
of France is an illegal one.[17]

[edit] Notoriety

The Origin of the World (L'Origine du monde). (1866). Paris: Muse d'Orsay.

Portrait of Jo (La belle Irlandaise), 1865-1866, Metropolitan Museum of Art, a painting of

Joanna Hiffernan, the probable model for L'Origine du monde and for Sleep.
In the Salon of 1857 Courbet showed six paintings. These included the scandalous Young Ladies
on the Banks of the Seine (Summer), depicting two prostitutes under a tree, as well as the first of
many hunting scenes Courbet was to paint during the remainder of his life: Hind at Bay in the
Snow and The Quarry.[7] By exhibiting sensational works alongside hunting scenes of the sort
that had brought popular success to the English painter Edwin Landseer, Courbet guaranteed

himself "both notoriety and sales".[18] During the 1860s, Courbet painted a series of increasingly
erotic works such as Femme nue couche. This culminated in The Origin of the World (L'Origine
du monde) (1866), which depicts female genitalia and was not publicly exhibited until 1988,[19]
and Sleep (1866), featuring two women in bed. The latter painting became the subject of a police
report when it was exhibited by a picture dealer in 1872.[20]
By the 1870s Courbet had become well established as one of the leading artists in France. On 14
April 1870, Courbet established a "Federation of Artists" (Fdration des artistes) for the free
and uncensored expansion of art. The group's members included Andr Gill, Honor Daumier,
Jean-Baptiste Camille Corot, Eugne Pottier, Jules Dalou, and douard Manet.

Le Sommeil (Sleep), 1866, Petit Palais, Muse des Beaux-Arts de la Ville de Paris
Until about 1861, Napolon's regime exhibited authoritarian characteristics, using press
censorship to prevent the spread of opposition, manipulating elections, and depriving the
Parliament of the right to free debate or any real power. In the decade of the 1860s, however,
Napolon III made more concessions to placate his liberal opponents. This change began by
allowing free debates in Parliament and public reports of parliamentary debates, continued with
the relaxation of press censorship, and culminated in the appointment of the Liberal mile
Ollivier, previously a leader of the opposition to Napolon's regime, as (effectively) Prime
Minister in 1870. As a sign of appeasement to the Liberals who admired Courbet, Napoleon III
nominated him to the Legion of Honour in 1870. His refusal of the cross of the Legion of
Honour offered to him by Napoleon III angered those in power but made him immensely popular
with those who opposed the current regime, and in 1871 under the revolutionary Paris Commune
he was placed in charge of all the Paris art museums and saved them from looting mobs.
However when the power shifted back to the old guard Courbet found himself in an untenable
political position.

[edit] Exile and death

Gustave Courbet taking down a Morris column, caricature published by the Pre Duchne
illustr
During the Paris Commune in 1871, Courbet proposed that the Vendme column be
disassembled and re-erected in the Htel des Invalides. Courbet argued that:

Inasmuch as the Vendme column is a monument devoid of all artistic v

This project was not adopted, but on 12 April 1871 the dismantling of the imperial symbol was
voted, and the column taken down on 8 May, with no intentions of rebuilding it. The bronze
plates were preserved.
For his insistence in executing the Communal decree for the destruction of the Vendme
Column, he was designated as responsible for the act and accordingly sentenced on 2 September
1871 by a Versailles court martial to six months in prison and a fine of 500 francs. During his
incarceration, Courbet painted several still-life compositions. In 1872 he depicted his
imprisonment in the Self-Portrait at Ste.-Plagie.
After the assault on the Paris Commune by Adolphe Thiers, head of the new provisional national
government, the decision was taken to rebuild the column with its statue of Napolon. In 1873,
the newly elected president Mac-Mahon wanted to resurrect the Column, On his own previous
proposition, Gustave Courbet was singled out and condemned to pay the expenses. Unable to
pay, Courbet went into a self-imposed exile in Switzerland to avoid bankruptcy. The next years
he participated quite actively in some regional and national exhibitions. Observed by the
intelligence service he enjoyed in the small Swiss art world the dubious reputation as head of the
realist school and inspired younger artists like Auguste Baud-Bovy and Ferdinand Hodler.[22]

From this period date several paintings of trout, "hooked and bleeding from the gills",[23] that
have been interpreted as allegorical self-portraits of the exiled artist.[23]
On 4 May 1877, the estimate of the costs was finally established: 323,091 fr 68 cent. Courbet
was allowed to pay the fine in yearly installments of 10,000 francs for the next 33 years, until his
91st birthday. On 31 December 1877, a day before the payment of the first installment was due,
[24]
Courbet died, age 58, in La Tour-de-Peilz, Switzerland, of a liver disease aggravated by heavy
drinking.

[edit] Influence

Claude Monet, Le dejeuner sur l'herbe, (right section), with Gustave Courbet, 1865-1866, Muse
d'Orsay, Paris
Courbet was admired by many younger artists. Claude Monet included a portrait of Courbet in
his own version of Le dejeuner sur l'herbe from 18651866. Courbet's particular kind of realism
influenced many artists to follow, notably among them the German painters of the Leibl circle,[25]
James McNeill Whistler, and Paul Czanne. Courbet's influence can also be seen in the work of
Edward Hopper, whose "Bridge in Paris" (1906) and "Approaching a City" (1946) have been
described as Freudian echoes of Courbet's The Source of the Loue and The Origin of the World.
[26]

[edit] Pupils

Henri Fantin-Latour

Hector Hanoteau

Olaf Isaachsen

[edit] Notable exhibitions

An exhibition of his works was held in 1882 at the cole des Beaux-Arts.
A major exhibition of Courbet's work, "The Born Rebel Artist", opened in 2007 at the Grand
Palais, and traveled to the Muse Fabre (Montpellier, France) and the Metropolitan Museum of
Art (New York City) during 2008.[27][28]
Bonjour, Monsieur Courbet!': The Bruyas Collection from the Muse Fabre, was a 2004
exhibition at the Sterling and Francine Clark Art Institute of Courbet's works from the collection
Alfred Bruyas donated to the Muse Fabre.

[edit] Gallery

Self-portrait with black dog, 1842

Bather Sleeping by a Brook, 1845, oil on canvas, The Detroit Institute of Arts

The man with a pipe Self-portrait, 1848-49


The Hammock, 1844

Zlie Courbet, 1847

Portrait of Charles Baudelaire, 1848-1849

The Stone Breakers, 1849

After Dinner at Ornans, 1849


Farmers of Flagey on the Return From the Market, 1850

Portrait of Alfred Bruyas, 1854

The Meeting ("Bonjour, Monsieur Courbet"), 1854

The Rock of Ten Hours (to Ornans), 1855

Louis Guymard(18221880) as Robert le Diable, 1857, Metropolitan Museum of Art

Les Bas Blancs, (Woman with White Stockings), ca 1861 (Barnes Foundation)

Femme nue couche, 1862

The Trellis, 1862, Toledo Museum of Art, Toledo, Ohio

Portrait of Countess Karoly 1865

Proudhon and his children, 1865

Sea Coast in Normandy, 1867

The Bather, 1868, Metropolitan Museum of Art, New York

The Source, 1868

The Wave, 1870


Cliffs at Etretat, After the Storm, 1870

Paul Verlaine, c. 1871

Stream in the Jura Mountains (The Torrent), 1872-3, Honolulu Academy of Arts

Mountain landscape with fruit trees in Ornans, 1873


Gustave Courbet Les Gorges du Saillon, 1875, oil on canvas.

The Lake Neuchtel, 1875

[edit] See also

History of painting

Western painting

[edit] Notes
1.

^ Courbet, Gustave: Letters of Gustave Courbet, 1992, University of Chicago

Press, Translated by Petra Ten-Doesschate Chu, ISBN 0226116530. (Google Books)

2.

^ a b Faunce, Sarah; Courbet, Gustave; and Nochlin, Linda 1988, p. 7.

3.

^ Avis Berman, "Larger than Life", Smithsonian Magazine, April 2008.

4.

^ Faunce, Sarah; Courbet, Gustave; and Nochlin, Linda 1988, p. 83.

5.

^ Masans, Fabrice 2006, pp. 3132.

6.

^ Masans, Fabrice 2006, p. 30.

7.

^ a b Masans, Fabrice 2006, p. 55.

8.

^ a b Masans, Fabrice 2006, p. 31.

9.

^ Pbs.org. Gustave Courbet's A Burial at Ornans

10.

^ Political turmoil delayed the opening of the Salon of 1850 until 30 December
1850. Faunce, Sarah; Courbet, Gustave; and Nochlin, Linda 1988, p. 2.

11.

^ McCarthy, James C. (Autumn, 1975). "Courbet's Ideological Contradictions and

the Burial at Ornans". Art Journal 35 (1): 12-16. http://0www.jstor.org.mercury.concordia.ca/stable/775835. Retrieved 26 March 2011.

12.

^ a b c d Faunce, Sarah; Courbet, Gustave; and Nochlin, Linda 1988, p. 4.

13.

^ Courbet, Gustave: artchive.com citing Perl, Jed: Gallery Going: Four Seasons
in the Art World, 1991, Harcourt, ISBN 978-0151342600.

14.

^ a b Masans, Fabrice 2006, p. 52.

15.

^ Faunce, Sarah; Courbet, Gustave; and Nochlin, Linda 1988, p. 84.

16.

^ Masans, Fabrice 2006, p. 48.

17.

^ Helene Toussaint, Arts Council of Great Britain. [An exhibition organ. by the
Runion des Muses Nationaux. Organ. committee: Alan Bowness...] (1978) (in English).
Gustave Courbet, 1819-1877 : [exhibition] at the Royal Academy of Arts, 19 January-19
March, 1978 : [catalog].. [London]: Arts Council of Great Britain. p. 265.
ISBN 0728701529.

18.

^ Schwabsky, Barry 2008, p. 30.

19.

^ Schwabsky, Barry 2008, p. 34.

20.

^ Faunce, Sarah; Courbet, Gustave; and Nochlin, Linda 1988, p. 176.

21.

^ "Attendu que la colonne Vendme est un monument dnu de toute valeur

artistique, tendant perptuer par son expression les ides de guerre et de conqute qui
taient dans la dynastie impriale, mais que rprouve le sentiment dune nation
rpublicaine, [le citoyen Courbet] met le vu que le gouvernement de la Dfense
nationale veuille bien lautoriser dboulonner cette colonne. [1],

22.

^ Fischer, Matthias 2009, pp. 5780.

23.

^ a b Danto, Arthur C. "Courbet", The Nation, January 23, 1989, p. 100.

24.

^ Nol, Bernard 1978

25.

^ Forster-Hahn, Franoise, et al. 2001, p. 155.

26.

^ Wells, Walter, Silent Theater: The Art of Edward Hopper, London/New York:
Phaidon, 2007.

27.

^ Golding, John, "The Born Rebel Artist", The New York Review of Books, v.55,
n.2 (Feb. 14, 2008) (reviewing the exhibition catalog).

28.

^ Smith, Roberta, "Art Review: Gustave Courbet -- Seductive Rebel Who Kept It
Real", New York Times, Feb. 29, 2008.

[edit] References

Champfleury, Les Grandes Figures dhier et daujourdhui (Paris, 1861)

Chu, Petra ten Doesschate. Courbet in Perspective. (Prentice Hall, 1977) ASIN
B000OIFL3E

Chu, Petra ten Doesschate and Gustave Courbet. Letters of Gustave Courbet. (Chicago:
Univ Chicago Press, 1992) ISBN 0226116530

Chu, Petra ten Doesschate. The Most Arrogant Man in France: Gustave Courbet and the
Nineteenth-Century Media Culture.(Princeton, NJ: Princeton University Press, 2007)
ISBN 0691126798

Clark, Timothy J., Image of the People: Gustave Courbet and the 1848 Revolution,
(Berkeley: University of California Press, 1999); (Originally published 1973. Based on
his doctoral dissertation along with The Absolute Bourgeois: Artists and Politics in
France, 1848-1851), 208pp. ISBN 978-0520217454. (Considered the definitive treatment
of Courbet's politics and painting in 1848, and a foundational text of Marxist art history).

Danto, Arthur (January 23, 1989). "Courbet". The Nation: 97100.

Faunce, Sarah, Gustave Courbet, and Linda Nochlin. Courbet Reconsidered. ([Brooklyn,
N.Y.]: Brooklyn Museum, 1988) ISBN 0300042981

Fischer, Matthias, Der junge Hodler. Eine Knstlerkarriere 1872-1897, Wdenswil:

Nimbus, 2009. ISBN 978-3-907142-30-1

Forster-Hahn, Franoise, et al., Spirit of an Age: Nineteenth-Century Paintings From the

Nationalgalerie, Berlin (London: National Gallery Company, 2001) ISBN 1-85709-981-8

Hutchinson, Mark, "The history of 'The Origin of the World'", Times Literary
Supplement, Aug. 8, 2007.

Lindsay, Jack. Gustave Courbet his life and art. Publ. Jupiter Books (London) Limited
1977.

Lemonnier, C, Les Peintres de la Vie (Paris, 1888).

Mantz, "G. Courbet," Gaz. des beaux-arts (Paris, 1878)

Masans, Fabrice, Gustave Courbet (Cologne: Taschen, 2006) ISBN 3822856835

Nochlin, Linda, Courbet, (London: Thames & Hudson, 2007) ISBN 978-0-500-28676-0

Nochlin, Linda, Realism: Style and Civilization (New York: Penguin, 1972).

Nol, Bernard, Dictionnaire de la Commune (Paris: Champs Flammarion, 1978)

Schwabsky, Barry (March 24, 2008). "Daring Intransigence". The Nation: 2834.

Zola, mile, Mes Haines (Paris, 1879)

This article incorporates text from a publication now in the public domain: Chisholm,
Hugh, ed (1911). Encyclopdia Britannica (Eleventh ed.). Cambridge University Press.

[edit] Further reading

Monographs on the art and life of Courbet have been written by Estignard (Paris, 1874),
D'Ideville, (Paris, 1878), Silvestre in Les artistes franais, (Paris, 1878), Isham in Van Dyke's
Modern French Masters (New York, 1896), Meier-Graefe, Corot and Courbet, (Leipzig, 1905),
Cazier (Paris, 1906), Riat, (Paris, 1906), Muther, (Berlin, 1906), Robin, (Paris, 1909), Benedite,
(Paris, 1911) and Lazr Bla (Paris, 1911). Consult also Muther History of Modern Painting,
volume ii (London, 1896, 1907); Patoux, "Courbet" in Les artistes clbres and La vrit sur
Courbet (Paris, 1879); Le Men, Courbet (New York, 2008).

Savatier, Thierry, El origen del mundo. Historia de un cuadro de Gustave Courbet.

Ediciones TREA (Gijn, 2009) ISBN 9788497044714

Bond, Anthony, "Embodying the Real", Body. The Art Gallery of New South Wales
(1997).

Faunce, Sara, "Feminist In spite of Himself", Body. The Art Gallery of New South Wales
(1997).

[edit] External links

Wikiquote has a collection of quotations related to: Gustave Courbet

Wikimedia Commons has media related to:
Gustave Courbet (category)
General

Gallery of paintings by Gustave Courbet

Berman, Avis "Larger than Life" Smithsonian magazine, April 2008

Courbet images and biography at CGFA

Humanities Web on Courbet

Art Renewal Center; biography and images

Union List of Artist Names, Getty Vocabularies. ULAN Full Record Display for Gustave
Courbet. Getty Vocabulary Program, Getty Research Institute. Los Angeles, California.

Articles and essays

Courbets Low Tide at Trouville in the Walker Art Gallery, Liverpool

E-zine article on Gustave Courbet

1867 Caricature of Gustave Courbet by Andr Gill

v d eGustave Courbet

The Stone Breakers (1849) A Burial At Ornans (1850) The Wounded Man (1854) The Wheat
Sifters (1854) The Artist's Studio (1855) Les Bas Blancs (1861) Femme nue couche (1862)
Portrait of Countess Karoly (1865) L'Origine du monde (1866) Le Sommeil (1866)

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