EPTTo follow up on my previous blog post, I would like to do a weekly-or-so Art History investigation, where I would like to give you a little bio and an artwork and some interesting info to think about. I invite everyone to discuss their opinions on the work in question. If i say something that doesn't make sense feel free to ask about it. Note, some things are textbook facts, some things are my opinions. Im too lazy to use citations unless people insist.
Okay, so here we go! Week one, Courbet and his painting "The Stonebreakers"
Gustave Courbet (Jean Désiré Gustave Courbet) 1819 - 1877
Courbet was born in Ornans (Besançon) in the Franche Comté, to Régis and Sylvie Oudot Courbet. Courbet was the first born boy and the youngest of 5 children. Courbet was always close to his family, and his roots. His father was a farmer, and paid a small allowance for him to study art. At age 20 he moved to Paris, and is largely self-taught. Courbet follows the Romantic Era of painting. Charles Baudelaire (1821-1867) Honoré Daumier (1808-1878), and Jean-François Millet (1814-1875) were contemporaries, friends. All saw the height and breakdown of both Neoclassicism and Romanticism. At the time, were witnessing cultural change: Marx argued that classical antiquity was no longer viable as a model in the fine arts. All shared a will for revolutionary change; the communist manifesto published at that time, though Courbet may not have read it. The French Revolution of 1848 was set off by a recession (similar to other countries at that time). Fighting in the streets between proletarian fighters and the guard: 3000 imprisoned or executed for having defied authority. Stemming from these events comes Avant Garde artists (coming from military term). Courbet, in the 40s, was already making scenes of proletarian figures as heroes. At the height of pitch battles, he wrote to his family “I do not believe in wars fought with guns and cannons, I have been waging a battle of intellect.” Courbet first used the term "Realisme"; to Courbet, a Realist was a lover of the honest truth. When asked why he did not paint traditional subject matter, he replied "Show me an angel, and I’ll paint it." Early submissions to the Salon were refused, but in 1844 his "Self portrait with Black Dog" was accepted. Courbet has many self-portraits, all constructing the artist's identity; the artist as self. Courbet often met with other likeminded individuals and friends, including Baudelaire and Champfleur at the Brasserie AndlerIn. In 1853, post-revolution Emperor Napoleon III issued a decree that the exhibition would be cancelled, and that France would stage a universal exposition in 1855 to show off how awesome they were. Comte de Nieuwerkeke was aware of Courbet’s up and coming status and wanted him to be included in the Exhibition, so he arranged to meet for lunch at a very elegant restaurant. Nieuwerkeke wanted to coerce him into painting something to his standards. Courbet respectfully declined, not willing to conform to any standards. So, Courbet made his own exhibition, the Pavilion of Realism funded by Alfred Bruyas. This was the first time art was shown outside the “system" (Salon).In 1870 Courbet established the "Fédération des artistes" for the free and uncensored expansion of art. Members Honoré Daumier, Jean-Baptiste Camille Corot and Édouard Manet. Courbet ran in a political election, elected as a communal (delegate) 6th arondissement in Paris 1871. During the Paris Commune in 1871, Courbet proposed the Vendôme column monumnet to be disassembled and re-erected in the Hôtel des Invalides. The dismantling was voted and the column taken down. It was decided that Courbet should foot part of the expenses for reconstruction. When he couldn’t not afford this, he was fined, then imprisoned. Courbet was not allowed to paint in jail. Courbet aided the forgery of his own works by his students. In his later years Courbet took refuge in Switzerland to avoid bankruptcy. The cost of the damages oweing was 323 091,68. Courbet was permitted to pay in yearly instalments 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 instalment was due, Courbet died at age 58 of liver disease aggravated by heavy drinking.
![[image loading]](http://www.friloux-art.com/tl/art/02stonebreakerslarge.jpg)
"The Stone Breakers" 1850
Style: Realism
This painting is a depiction of the autre Bourgeoisie. The typical depiction of the "Bourgeoisie" middle class is often wealthy and successful people, such as "Portrait of Louis François Bertin" (+ Show Spoiler +
![[image loading]](http://www.friloux-art.com/tl/art/ingres-bertin.jpg)
Courbet takes these workers and paints them on a huge scale (5' 3" x 8' 6" / 1.7m x 2.5m), the likes of which was often reserved for Royalty and the like. Courbet is raising them to godlike status in scale alone, providing a big punch in the face to the aghast critics and Salon patrons who first viewed it in 1850. “No one wants to admit that a stonebreaker is equal to a prince” - Champfleury
It is no mistake that we cannot see their faces. They serve as a representation of the many thousands of unseen and unrepresented poor working people. Their anonymity gives the painting a timeless quality, as we are never able to pinpoint these people down as characters long past but the placeholder for all those poor people who aren't represented.
It is suggested that these people were sketched from life, giving the picture a snapshot quality; the people aren’t nicely posed and poised but we are given a quick glance into their lives, that moment of numbingly repetitive behaviour with no end in sight. Both figures are consumed in their actions and will never rest. Both figures are surrounded by muted colours and harsh lines and angles, where in the far distance, almost off the edge of the canvas there is a small piece of light. Perhaps representing the light of life and joy, which is always out of reach, existing for others but will never be attainable for them. There is no narrative to suggest an end to their actions.
Courbet's elements of plein air painting acts as a precursor to impressionism. Traditionally, artists would work on their painting entirely in the studio, but with the invention of stretched canvas and paint in a tube, people started to go outdoors and paint from observation. This style of plein air painting is integral to the ideology of the impressionists and plays a role in Courbet's desire to paint the real world. Courbet employed spontaneous and rough handling of paint, suggesting direct observation and portraying the irregularities of nature. He depicted the harshness in life, and in so doing, challenged contemporary academic ideas of art.
The painting was destroyed by accidental fire.
I'm taking AP Euro at the moment, and my textbook doesn't cover too much art, so learning about this is great.
