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Legacy |
Courbet was admired by many younger artists. Claude Monet included a portrait of Courbet in his own version of Le Déjeuner sur l'herbe from 1865–1866 (Musée d'Orsay, Paris). Courbet's particular kind of realism influenced many artists to follow, notably among them the German painters of the Leibl circle, 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. His pupils included Henri Fantin-Latour, Hector Hanoteau and Olaf Isaachsen. |
Courbet once wrote this in a letter: |
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.' |
Courbet and Cubism |
Two 19th-century artists prepared the way for the emergence of Cubism in the 20th century: Courbet and Cézanne. Cézanne's contributions are well-known. Courbet's importance was announced by Guillaume Apollinaire, poet-spokesperson for the Cubists. Writing in Les Peintres Cubistes, Méditations Esthétiques (1913) he declared, "Courbet is the father of the new painters." Jean Metzinger and Albert Gleizes often portrayed Courbet as the father of all modern art. |
Both artists sought to transcend the conventional methods of rendering nature; Cézanne through a dialectical method revealing the process of seeing, Courbet by his materialism. The Cubists would combine these two approaches in developing a revolution in art. |
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