A Study of the Representation Of
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Gustave Courbet
GU STA V E C OU R B ET Wi th a Bi ograp hi cal a n d C r iti cal Stu dy b y L E O N C E B E N E D I TE C u r a t or o f t h e L u x e mb ou r g P r fessor a h Gallery , o t t e ° Ecole du L ouvr e , 89 Notes L A R A N an d by J . P H G A S TO N DR EYFUS ,Wi th Forty -eight P lates D E P I T PH ILA L H A : J . B . LIPPINCO T COM PANY D WI I LON ON . LL AM H EINEMANN 1913 CO N TE N T S . Léonce Gustave Courbet . Introduction by Benedite Short Bibliography LIS T OF I LLUS TR ATIO Courbet au Chien Noir Frontispiece Le Guitarrero To face page 4 Le Hamac ’ L Homrne ala Pipe ’ L Hom e 51 la Ceinture de Cuir ’ L Aprés- Diner a Ornans Les Paysans de Flagey ’ L Ap6tre Jean Journet Les Casseurs de Pierres L ’ Enterrement a Ornans L ’ Enterrement ( The Bearers) ’ L En terremen t ( The Women) Les Demoiselles de Village ’ Environs d Orn an s Les Baigneuses Les Lutteurs La Fileuse Endormie Baudelaire Champfleury Proudhon et s a Famille Alfred Bruyas La Rencontre Les Cribleuses de Blé Le Chateau d ’ ornans ’ 25 . L Atelier ’ L A li r 2 6 . te e ( Fragment) 2 7 . Courbet au Col Rayé 2 8 . Baigneuse ( Study) 2 Mm 9 . -
Art and the Ordinary: Literary and Visual Constructs of the Mundane Jenessa Kenway University of Nevada, Las Vegas, [email protected]
UNLV Theses, Dissertations, Professional Papers, and Capstones May 2017 Art and The Ordinary: Literary and Visual Constructs of the Mundane Jenessa Kenway University of Nevada, Las Vegas, [email protected] Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Art and Design Commons, and the Theory and Criticism Commons Repository Citation Kenway, Jenessa, "Art and The Ordinary: Literary and Visual Constructs of the Mundane" (2017). UNLV Theses, Dissertations, Professional Papers, and Capstones. 2995. https://digitalscholarship.unlv.edu/thesesdissertations/2995 This Thesis is brought to you for free and open access by Digital Scholarship@UNLV. It has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. ART AND THE ORDINARY: LITERARY AND VISUAL CONSTRUCTS OF THE MUNDANE By Jenessa Lynn Wilson Kenway Bachelor of Arts — Art San Francisco State University 2006 Master of Fine Arts — Art University of Nevada, Las Vegas 2011 A thesis submitted in partial fulfillment of the requirement for the Master of Arts — English Department of English College of Liberal Arts The Graduate College University of Nevada, Las Vegas May 2017 Thesis Approval The Graduate College The University of Nevada, Las Vegas January 27, 2017 This thesis prepared by Jenessa Lynn Wilson Kenway entitled Art and the Ordinary: Literary and Visual Constructs of the Mundane is approved in partial fulfillment of the requirements for the degree of Master of Arts — English Department of English Timothy Erwin, Ph.D. Kathryn Hausbeck Korgan, Ph.D. Examination Committee Chair Graduate College Interim Dean Emily Setina, Ph.D. -
Art and Social Change a Critical Reader
ART AND SOCIAL CHANGE A CRITICAL READER EDITED BY WILL BRADLEY AND CHARLES ESCHE TATE PUBLISHING IN ASSOCIATION WITH AFTERALL First published 2007 by order of the Tate Trustees by Tate Publishing, a division of Tate Enterprises Ltd Millbank, London sw1p 4rg www.tate.org.uk/publishing In association with Afterall Central Saint Martins College of Art & Design, University of the Arts London 107–109 Charing Cross Road London wc2h 0du Copyright © Tate, Afterall 2007 Individual contributions © the authors 2007 unless otherwise specified Artworks © the artists or their estates unless otherwise specified All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library ISBN 978-1-85437-626-8 Distributed in the United States and Canada by Harry N. Abrams Inc., New York Library of Congress Cataloging in Publication Data Library of Congress Control Number: 2007934790 Designed by Kaisa Lassinaro, Sara De Bondt Printed by Graphicom SPA, Italy CONTENTS 99 Deutschland Deutschland Über Alles Kurt Tucholsky and John Heartfield Preface [7] Charles Esche 104 Bauhaus no.3, The Students Voice Kostufra Introduction [9] Will Bradley 106 The Fall of Hannes Meyer Kostufra Colour plates [25] 108 Letter, August 1936 PART I – 1871 Felicia Browne 36 Letters, October 1870–April 1871 110 We Ask Your Attention Gustave Courbet British Surrealist Group 29 October 1870 18 March 1871 115 Vision in Motion 7 April 1871 László Moholy-Nagy 30 April 1871 PART III – 1968 40 Socialism from the Root Up William Morris and E. -
CLASS and SOCIETY
CLASS and SOCIETY: NINETEENTH-CENTURY FRENCH REALISM: FOCUS (Honoré Daumier and Gustave Courbet) CLASS and SOCIETY: NINETEENTH-CENTURY FRENCH REALISM: SELECTED TEXT (Honoré Daumier and Gustave Courbet) REALISM: GUSTAVE COURBET and HONORE DAUMIER Online Links: Gustave Courbet – Wikipedia Courbet's Burial at Ornans – Smarthistory The Stonebreakers – Smarthistory Why Gustave Courbet Still has the Power to Shock - The Independent Honore Daumier – Wikipedia Courbet's The Artist's Studio - Smarthistory Aestheticism versus Realism The concept of “art for art’s sake”, without any moral, social, political or any other didactic purpose, was at the center of much 19th century thought though as often attacked as commended. Its origin can be traced by to Immanuel Kant who, in his Critique of Judgment of 1790, broke with traditional aesthetics by analyzing the previously unified notions of the good, the tree and the beautiful as discrete categories. Appreciation of beauty is, he argued, subjective and disinterested – unaffected by an object’s purpose. Gustave Courbet. The Stone Breakers, 1849 , oil on canvas (destroyed) Realism was an artistic movement that began in France in the 1850s, after the 1848 Revolution. Realists rejected Romanticism, which had dominated French literature and art since the late 18th century. Realism revolted against the exotic subject matter and exaggerated emotionalism and drama of the Romantic movement. Instead it sought to portray real and typical contemporary people and situations with truth and accuracy, and not avoiding unpleasant or sordid aspects of life. Realist works depicted people of all classes in situations that arise in ordinary life, and often reflected the changes wrought by the Industrial Revolution. -
The Influence of the Industrial Revolution on Nineteenth-Century Literary and Artistic Movements
University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2019 The Influence of The Industrial Revolution on Nineteenth-Century Literary and Artistic Movements Warisara Emily Sawin University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the French and Francophone Language and Literature Commons Recommended Citation Sawin, Warisara Emily, "The Influence of The Industrial Revolution on Nineteenth-Century Literary and Artistic Movements" (2019). Electronic Theses and Dissertations. 1697. https://egrove.olemiss.edu/etd/1697 This Thesis is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. The Influence of the Industrial Revolution on Nineteenth-Century French Literary and Artistic Movements A Thesis Presented for the Master of Arts Degree The University of Mississippi Warisara Emily Sawin May 2019 Copyright © 2019 by Warisara Emily Sawin All rights reserved ABSTRACT This is a study of the impact and the influence of the Industrial Revolution on French literary and artistic movements in the nineteenth century. ii DEDICATION This work is dedicated to the professors of the French Department who have supported and inspired me throughout the process and my many years of study. I will always appreciate all they have done, especially Dr. Sara Wellman for helping me develop my analytical thinking and research writing skills. I dedicate this work and give special thanks to my best friends, Roshan Naran, and Hannah Arrington for being there for me throughout the entire master program. -
Gustave Courbet's Meeting: a Portrait of the Artist As a Wandering Jew Author(S): Linda Nochlin Source: the Art Bulletin, Vol
Gustave Courbet's Meeting: A Portrait of the Artist as a Wandering Jew Author(s): Linda Nochlin Source: The Art Bulletin, Vol. 49, No. 3 (Sep., 1967), pp. 209-222 Published by: College Art Association Stable URL: http://www.jstor.org/stable/3048470 . Accessed: 27/01/2014 13:41 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. College Art Association is collaborating with JSTOR to digitize, preserve and extend access to The Art Bulletin. http://www.jstor.org This content downloaded from 199.79.254.152 on Mon, 27 Jan 2014 13:41:47 PM All use subject to JSTOR Terms and Conditions Gustave Courbet's Meeting:A Portrait of the Artist as a Wandering Jew 209 LINDA NOCHLIN In his own day, Gustave Courbet was generally considered a similitude to actual objects,"'4and a purposeful rejection of all painter of reality: his compositions were held to be records of traditional principles of composition has been considered its sheer, unmediated observation and were praised or criticized most striking characteristic." Indeed, the artist's fidelity to the as such by contemporary observers.1 In more recent years, -
REALISM 01 from the Late 1840S Onwards
REALISM 01 From the late 1840s onwards Inspired by the large-scale canvases of 17th-century Dutch painters such as Rembrandt van Rijn (1606–1669), French artist Gustave Courbet (1819–1877) began in 1849 to paint his first monumental work, A Burial at Ornans (1849–1850), also titled A Painting of Human Figures: The History of a Burial at Ornans. The location was Courbet’s own village of Ornans, in eastern France. The painting depicted a large gathering of ordinary members of the community, including the clergy and the artist’s mother and sister, attending the funeral of Courbet’s great-uncle. It was a factual representation of contemporary life in rural France, which Courbet painted with life-size figures. Those who viewed the painting on display at the annual Salon in Paris in 1850 disliked what they saw, finding it trivial and ugly – a critical reaction to the aggrandisement in scale and sub- ject of ordinary people in a genre reserved for royalty or history painting. The people’s uprising in the revolution of 1848 was still fresh in the minds of the establishment. It had triggered the same reaction to the realism of Courbet’s The Stone Breakers (1849), which depicted a young man and an older man in servitude, breaking rocks along the roadside, the reality of the lives of members of the poorer class. Both works brought notoriety to Courbet and prompted younger artists to shift away from idealised romanticism towards painting contemporary life. Courbet called it ‘the debut of my principles’. The Bathers, shown at the 1853 Paris Salon, was shocking, for Courbet’s nude bathers were real, not mythical, women. -
Larry Rivers and Frank O'hara: Reframing Male Sexualities
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2006 Larry Rivers and Frank O'Hara: Reframing Male Sexualities Dong-Yeon Koh Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1659 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] LARRY RIVERS AND FRANK O’HARA: REFRAMING MALE SEXUALITIES by DONG-YEON KOH A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2006 UMI Number: 3232003 Copyright 2006 by Koh, Dong-Yeon All rights reserved. UMI Microform 3232003 Copyright 2006 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, MI 48106-1346 ii © 2006 DONG-YEON KOH All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Prof. Anna Chave Date Chair of Examining Committee Prof. Kevin Murphy Date Executive Officer Prof. Mona Hadler Prof. Harriet Senie Prof. Sarah Schulman Supervision Committee THE CITY UNIVERSITY OF NEW YORK iv Abstract Larry Rivers and Frank O’Hara: Reframing Male Sexualities by Dong-Yeon Koh Adviser: Professor Anna Chave In 1970, Sam Hunter complained that the distinctive persona of proto-Pop artist Larry Rivers had overshadowed his artistic achievement. -
Gustave Courbet's Meeting: a Portrait of the Artist As a Wandering
Gustave Courbet's Meeting:A Portrait of the Artist as a Wandering Jew 209 LINDA NOCHLIN In his own day, Gustave Courbet was generally considered a similitude to actual objects,"'4and a purposeful rejection of all painter of reality: his compositions were held to be records of traditional principles of composition has been considered its sheer, unmediated observation and were praised or criticized most striking characteristic." Indeed, the artist's fidelity to the as such by contemporary observers.1 In more recent years, sheer data of experience has seemed so uncompromising, his Courbet's dependence upon traditional art and upon popular procedure in this work has been likened to that of the lens of imagery in particular has been recognized: such works as the a camera;6 any minor deviations from perceptual objectivity After-Dinner at Ornans, the Burial at Ornans, the Wrestlers, which the painting may seem to exhibit have generally been and the Painter's Studio, have been clearly related to specific laid to the artist's notorious self-adulation.' Yet The Meeting pictorial antecedents.2 Yet one of his major paintings of the is a document neither of sheer narcissism nor of pure observa- decade of the fifties, The Meeting (Fig. 1) of 1854, has con- tion, although there is more than a measure of both in it; its tinued to be viewed as nothing more than the faithful, if typi- composition is unequivocally based upon a source in popular cally egotistical, recording of a specific event in a particular imagery: a portion of a broadside of the Wandering Jew, rep- locale: the artist's meeting with his patron, Alfred Bruyas, and resenting the encounter of the Jew with two burghers of the the latter's servant and dog, on the road to Site outside Mont- town, which was later to serve as the frontispiece of Champ- pellier.3 The painting has been criticized by Roger Fry for sac- fleury's Histoire de t'imagerie poputlaire (Figs.