| 15th | Top French artists |
| Gustave Courbet | |
|---|---|
 |
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| Gustave Courbet (portrait by Nadar). | |
| Birth name | Jean Désiré Gustave Courbet |
| Born | 10 June 1819 Ornans, Doubs, France |
| Died | 31 December 1877 (aged 58) La Tour-de-Peilz, Switzerland |
| Nationality | French |
| Field | Painting, Sculpting |
| Training | Antoine-Jean Gros |
| Movement | Realism |
| Works | A Burial At Ornans (1849-1850) L'Origine du monde (1866) |
| Patrons | Alfred Bruyas |
| Influenced | Whistler, Cézanne, Hopper |
| Awards | Gold-Medal winner - 1848 Salon; Nominated to receive the French Legion of Honor in 1870, - Refused. |
Jean Désiré 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 Théodore Géricault and Eugène 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 life free; when I am dead let this be said of me: 'He belonged to no school, to no church, to no institution, to no academy, least of all to any régime except the régime of liberty.[1] | ” |
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Courbet was a painter of 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: the rural bourgeoisie and peasantry, and the 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 Honoré Daumier and Jean-François 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.
Courbet was born in 1819 to Régis 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, Zoé, Zélie 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.
His first works were an Odalisque, suggested by the writing of Victor Hugo, and a Lélia, illustrating George Sand, but he soon abandoned literary influences for the study of real life. 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 the Self-Portrait with Black Dog (c. 1842–1844, accepted for exhibition at the Paris Salon of 1844), the theatrical Self-Portrait, also known as Desperate Man (c. 1843–45), Lovers in the Countryside (1844, Musée des Beaux-Arts, Lyon), The Sculptor (1845), The Wounded Man (1844–1854, Musée d'Orsay, Paris), The Cellist, Self-Portrait (1847, Nationalmuseum, Stockholm, shown at the Salon of 1848), and The Man with a Pipe (c. 1848–1849, Musée d'Orsay, Paris).
Trips to the Netherlands and Belgium in 1846–1847 strengthened Courbet's belief that painters should portray the life around them, as Rembrandt, Hals, and the other Dutch masters had done. 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. This 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 this rule was changed).[7]
In 1849 Courbet painted Stone-Breakers (destroyed in the British bombing of Dresden in 1945), which was admired by Proudhon as an icon of peasant life, and has been called "the first of his great works".[8] Courbet was inspired by a scene witnessed on the roadside, as he 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]
The Salon of 1850–1851[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 an event—the funeral of his grand uncle—which he witnessed in September 1848. People who had attended the funeral were used as models for the painting. Previously, models had been used as actors in historical narratives; here Courbet said that 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, is an enormous work, measuring 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."[11] Then too, 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.[11] 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 this painting; as Courbet said: "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".[11] He actively encouraged the public 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.[11] Courbet associated his ideas of realism in art with 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 a savage. I must be free even of governments. The people have my sympathies, I must address myself to them directly.[12] | ” |
During the 1850s Courbet painted numerous other 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).
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.[13] 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 adjacent gallery called The Pavillion of Realism, which was a temporary structure he erected next door to the official Salon like Exposition Universelle.[13] Although artists like Eugène Delacroix were ardent champions of his effort, the public came mostly out of curiosity and to deride him. Attendance and sales were disappointing,[14] 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 Édouard Manet and the Impressionist painters many of whom were still in art school at the time. The painting itself was recognized as a masterpiece by Delacroix, Baudelaire, and Champfleury. It is an allegory of his 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 (a priest, a prostitute, a grave digger, a 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."[15]
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".[16] During the 1860s, Courbet painted a series of increasingly erotic works such as Femme nue couchée. This culminated in The Origin of the World (L'Origine du monde) (1866), which depicts female genitalia and was not publicly exhibited until 1988,[17] 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.[18]
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" (Fédération des artistes) for the free and uncensored expansion of art. The group's members included André Gill, Honoré Daumier, Jean-Baptiste Camille Corot, Eugène Pottier, Jules Dalou, and Édouard Manet.
Until about 1861, Napoléon'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, Napoléon 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 Émile Ollivier, previously a leader of the opposition to Napoléon'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.
During the Paris Commune in 1871, Courbet proposed that the Vendôme column be disassembled and re-erected in the Hôtel des Invalides. Courbet argued that:
| “ | Inasmuch as the Vendôme column is a monument devoid of all artistic value, tending to perpetuate by its expression the ideas of war and conquest of the past imperial dynasty, which are reproved by a republican nation's sentiment, citizen Courbet expresses the wish that the National Defense government will authorise him to disassemble this column."[19] | ” |
This project was not adopted, but, on April 12, 1871, the dismantling of the imperial symbol was voted, and the column taken down on May 8, with no intentions of rebuilding it. The bronze plates were preserved.
For his insistence in executing the Communal decree for the destruction of the Vendôme 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.-Pélagie.
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 Napoléon. 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. He took refuge 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.[20]
From this period date several paintings of trout, "hooked and bleeding from the gills",[21] that have been interpreted as allegorical self-portraits of the exiled artist.[21]
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,[22] Courbet died, age 58, in La Tour-de-Peilz, Switzerland, of a liver disease aggravated by heavy drinking.
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 1865-1866. Courbet's particular kind of realism influenced many artists to follow, notably among them the German painters of the Leibl circle,[23] James McNeill Whistler, and Paul Cézanne. 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." [24]
An exhibition of his works was held in 1882 at the École 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 Musée Fabre (Montpellier, France) and the Metropolitan Museum of Art (New York City) during 2008.[25][26]
'Bonjour, Monsieur Courbet!': The Bruyas Collection from the Musée Fabre,' 2004 exhibition at the Sterling and Francine Clark Art Institute of Courbet's works from the collection of Alfred Bruyas, now at the Musée Fabre.
 Self-portrait with black dog, 1842 |
 The man with a pipe Self-portrait, 1848-49 |
 The Hammock, 1844 |
 Zélie Courbet, 1847 |
 Portrait of Charles Baudelaire, 1848-1849 |
 Stone-Breakers, 1849 |
 After Dinner at Ornans, 1849 |
 Farmers of Flagey on the Return From the Market, 1850 |
 Portrait of Alfred Bruyas, 1854 |
 Bonjour, Monsieur Courbet, 1854 |
 Louis Guéymard(1822–1880) as Robert le Diable, 1857, Metropolitan Museum of Art |
 Les Bas Blancs, (Woman with White Stockings), ca 1861 (Barnes Foundation) |
 Femme nue couchée, 1862 |
 Portrait of Countess Karoly 1865 |
 Proudhon and his children, 1865 |
 The Bather, 1868, Metropolitan Museum of Art, New York |
 The Source, 1868 |
 The Wave, 1870 |
 Cliffs at Etretat, After the Storm, 1870 |
 Stream in the Jura Mountains (The Torrent), 1872-3, Honolulu Academy of Arts |
Monographs on the art and life of Courbet have been written by Estignard (Paris, 1874), D'Ideville, (Paris, 1878), Silvestre in Les artistes français, (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 Lazár Béla (Paris, 1911). Consult also Muther History of Modern Painting, volume ii (London, 1896, 1907); Patoux, "Courbet" in Les artistes célèbres and La vérité sur Courbet (Paris, 1879); Le Men, Courbet (New York, 2008).
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Jean Désiré Gustave Courbet (10 June 1819 – 31 December 1877) was a French painter who led the Realist movement in 19th-century French painting.
GUSTAVE COURBET (1819-1877), French painter, was born at Ornans (Doubs) on the 10th of June 1819. He went to Paris in 1839, and worked at the studio of Steuben and Hesse; but his, independent spirit did not allow him to remain there long, as he preferred to work out his own way by the study of Spanish, Flemish and French painters. His first works, an "Odalisque," suggested by Victor Hugo, and a "Lelia," illustrating George Sand, were literary subjects; but these he soon abandoned for the study of real life. Among other works he painted his own portrait with his dog, and "The Man with a Pipe," both of which were rejected by the jury of the Salon; but the younger school of critics, the neo-romantics and realists, loudly sang the praises of Courbet, who by 1849 began to be famous, producing such pictures as "After Dinner at Ornans" and "The Valley of the Loire." The Salon of 1850 found him triumphant with the "Burial at Ornans," the "Stone-Breakers" and the "Peasants of Flazey." His style still gained in individuality, as in "Village Damsels" (1852), the "Wrestlers," "Bathers," and "A Girl Spinning" (1852). Though Courbet's realistic work is not devoid of importance, it is as a landscape and sea painter that he will be most honoured by posterity. Sometimes, it must be owned, his realism is rather coarse and brutal, but when he paints the forests of Franche-Comte, the "Stag-Fight," "The Wave," or the "Haunt of the Does," he is inimitable. When Courbet had made a name as an artist he grew ambitious of other glory; he tried to promote democratic and social science, and under the Empire he wrote essays and dissertations. His refusal of the cross of the Legion of Honour, offered to him by Napoleon III., made him immensely popular, and in 1871 he was elected, under the Commune, to the chamber. Thus it happened that he was responsible for the destruction of the Vendome column. A council of war, before which he was tried, condemned him to pay the cost of restoring the column, 300,000 francs (12,000). To escape the necessity of working to the end of his days at the orders of the State in order to pay this sum, Courbet went to Switzerland in 1873, and died at La Tour du Peilz, on the 31st of December 1877, of a disease of the liver aggravated by intemperance. An exhibition of his works was held in 1882 at the E.
des Beaux-Arts.
See Champfleury, Les Grandes Figures d'hier et d'aujourd' hui (Paris, 1861); Mantz, "G. Courbet," Gaz. des beaux-arts (Paris, 1878); Zola, Mes Haines (Paris, 1879); C. Lemonnier, Les Peintres de la Vie (Paris, 1888). (H. FR.)
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Categories: COS-COX | French painters | French politicians
Jean Désiré Gustave Courbet (10 June 1819–31 December 1877) was a French painter. He was the leader of the Realist movement in 19th-century French painting. Courbet is very important in French painting for two reasons. Firstly, he was prepared to try out new ideas and ways of painting. Secondly, his paintings made social comment on the world around him. In other words, he was not afraid to show "real life" in a way that was not always beautiful and nice.
Courbet's paintings were an inspiration to many other painters, particularly the French Impressionists and Post-Impressionists. Edouard Manet, Edgar Degas, Vincent van Gogh and Henri Toulouse-Lautrec were all inspired by Gustave Courbet's paintings of people. His landscape paintings were an inspiration to Claude Monet, Seurat, Cezanne and many other painters.
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Courbet was born in 1819, and was the son of Régis and Sylvie Oudot Courbet in Ornans, Doubs. Courbet's sisters, Zoé, Zélie and Juliette, were his first models for drawing and painting.
When Courbet was twenty he went to Paris in 1839, and worked at the studio of two other painters, Steuben and Hesse. He was not happy there, and wanted to work on his own. He studied the works of many great masters, including Goya, Velazquez and Titian. He painted several self-portraits at this time. He often returned home to Ornans to hunt, fish and find inspiration in the countryside and country life.[1]
In 1846–1847 Coubet travelled to the Netherlands and Belgium where he studied the paintings of Rembrandt, Franz Hals and Jan Steen who all painted in the 1600s. The paintings by these artists often showed realistic scenes and portraits of everyday life. They showed ordinary people at the table together, dancing, writing, cooking, working at trades and in businesses and in the fields. There were many pictures of soldiers. Courbet decided that he wanted to paint scenes of ordinary life the way that these artists did. He did not want to paint scenes from literature, history or mythology like most other artists in France at that time. [2]
Courbet painted a large picture of everday-life at Ornans. The painting, called After Dinner at Ornans, shows four men who have just finished a meal at a little table, which is perhaps in an inn. One man is playing his violin, one man is lighting his pipe. Courbet sits listening, with his head leaning on his hand. A large dog is curled under a chair. Courbet showed the painting at the Salon Exhibition in Paris. It was a great success. It won a Gold Medal and was bought by the French Government.[3] Because of the gold medal, Courbet could hang his pictures at the Salon Exhibitions without having them checked by a jury first. (This rule was changed in 1857.)[4] Courbet's work, along with the work of Honoré Daumier and Jean-François Millet, became known as Realism. Like the Dutch painters that he admired, Courbet often painted in broad, rough brush strokes. He often used dark earthy colours, particularly brown, in his paintings.
In 1849 Courbet saw two people working by the roadside, using small hammers to break large rocks into gravel. One was an old man and the other was a young boy. Courbet painted a picture of this scene. He explained it to a friend "It is not often that one meets with 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."
The picture soon became one of the most famous scenes of the life of poor people that has ever been painted. It was destroyed during World War II in Dresden.[5]
, Paris.]] Courbet's other important painting that was shown at the Salon of 1850 was a scene of life at his village. Beginning in 1849, he painted the funeral of his great-uncle who had died the previous year. Courbet got all the village people who had been at the funeral to come to his studio and pose for him, one by one, until the painting was complete. The painting was very large, 10 by 22 feet (3.1 by 6.6 meters). The famous artist Jacques Louis David had once painted a very large picture in the same way. David's picture was of the Coronation of Napoleon and showed all the people who were present.
Some people praised The Funeral at Ornans but other people were very angry about it. They thought that it was wrong to show the burial of an ordinary man in a huge painting, as if he was as important as an emperor. They thought that it was wrong to show the poor people of a village, with their old clothes and dirty boots, as if they were all as important as lords and ladies. [6] Some of the critics said that Courbet was deliberately trying to paint ugliness.[6] Many people came to see the picture and liked the new Realist way of painting. Courbet said: "The Burial at Ornans was .... the burial of Romanticism."
Courbet became a celebrity. (He became famous and written about in the newspapers- like a film star.) People said he was a genius, a "terrible socialist", and a "savage".[6] Courbet wrote to a friend in 1850:
| “ | ...in our very civilized society it is necessary for me to live the life of a savage. I must be free even of governments. The people have my sympathies, I must address myself to them directly.[7] | ” |
During the 1850s Courbet painted many other pictures 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).
Courbet then painted another huge picture. This painting is called The Artist's Studio and is about seven years in his life as a painter. He shows himself at the centre of the picture, working on a large landscape painting. Behind him is an artists' model, who is naked. All around Courbet are his friends and people from his village. His mother stands to one side of the picture. Another woman is sitting on the floor feeding her baby. A little boy watches the artist, while a white cat plays on the floor.
In 1855 Coubet took this picture, with Burial at Ornan and twelve other paintings to be shown in a big international exhibition in Paris called Exposition Universelle. The two biggest paintings and another one were sent away because there was not enough room. Courbet was angry. He had his own building put up, and showed forty of his paintings.[8] Many other artists praised Courbet, but some people laughed at him, and the public did not buy very many of his pictures.[9] Because of what he had done, younger artists heard about him and admired him. These included James McNeill Whistler in the United States as well as Édouard Manet in France.
In 1857 Courbet showed six pictures in the Salon exhibition. One was a hunting scene and one was a picture of two prostitutes lying under a tree on the banks of the River Seine in Paris. Many people came to see the exhibition and to buy his paintings. The hunting scenes were very popular for decorating the halls and dining rooms of large houses. [4]
For the rest of his life, Courbet painted erotic (sexy) pictures like the picture of the prostitutes, and also many more hunting scenes. His last erotic painting was called The Origin of the World and was a close-up painting of female genitals. This painting was not shown in a public exhibition until 1988.[10] He also painted very many landscapes, which he began by doing outdoor sketches, then made into big paintings in his studio. By the 1870s Courbet was thought of as one of the leading artists in France. The emperor offered to make Courbet a member of the Légion d'honneur which was the highest honour in France, but Courbet refused to accept it. He believed that he belonged to the poor and ordinary people, not to the high and mighty.
At this time, there were many political problems in France. Courbet became involved in the political problems. In 1871, he was blamed because a public monument called the Vendôme Column had been demolished. He was put in prison for six months. In 1873, the new government expected him to pay to have the monument restored and put back. He did not have enough money so left France to live in Switzerland.[11] The government decided to make terms so that Courbet could pay for the column in yearly payments of 10,000 francs for 33 years. Courbet died at La Tour-de-Peilz, Switzerland, on 31 December 1877, one day before the first payment was due. He was 58 and died of liver disease, made worse by heavy drinking.[12]
Selbstbildnis mit schwarzem
Self-portrait with black dog, 1842 |
La belle Irlandaise (Portrait of Jo).JPG
Portrait of Jo (La belle Irlandaise), 1865-1866, Metropolitan Museum of Art, a painting of Joanna Hiffernan |
Courbet
Cliffs at Etretat, After the Storm, 1870 |
   | Courbet’s 'Low Tide at Trouville' (c.1865) - Liverpool museums - ''Low Tide at Trouville' circa 1865' , by Gustave Courbet | Artwork of the Month |
| | Humanities Web on Courbet - The Unflaggingly Honest Gustave Courbet [Biography] |
| | Art Renewal Center; biography and images - ARC :: Gustave Courbet (1819-1877) :: Page 1 of 9 |
| | Courbet images and biography at CGFA - CGFA- Gustave Courbet |
 | E-zine article on Gustave Courbet - ICHOR's Art E-Zine - Gustave Courbet |
| | Artchive on Courbet - Mark Harden's Artchive: "Artchive" |
| | 1867 Caricature of Gustave Courbet - André Gill Gallery: Courbet |
| | The Born Rebel Artist - The Born Rebel Artist - The New York Review of Books |
| | "Art Review: Gustave Courbet -- Seductive Rebel Who Kept It Real" - The New York Times > Log In |
| | TLS - The Times Literary Supplement (TLS) | Times Online |
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