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On a formal level, Courbet wished to convey the physical characteristics of what he was painting: its density, weight, and texture. Art critic John Berger said: "No painter before Courbet was ever able to emphasize so uncompromisingly the density and weight of what he was painting." This emphasis on material reality endowed his subjects with dignity. Berger observed that the Cubist painters "were at great pains to establish the physical presence of what they were representing. And in this, they are the heirs of Courbet."
Nazi-looted art
During the Third Reich (1933–1945) Jewish art collectors throughout Europe had their property seized as part of the Holocaust. Many artworks created by Courbet were looted by Nazis and their agents during this period and have only recently been reclaimed by the families of the previous owners.
Courbet's La Falaise d'Etretat was owned by the Jewish collector Marc Wolfson and his wife Erna, who both were murdered in Auschwitz. After disappearing during the Nazi occupation of France, it reappeared years later at the musée d'Orsay.
The great Hungarian Jewish collector Baron Mor Lipot Herzog owned several Courbet artworks, including Le Chateau de Blonay (Neige) (c. 1875, "The Chateau of Blonay (Snow)", now at the Budapest Museum of Fine Arts), and Courbet's most infamous work — L'Origine du monde ("The Origin of the World"). His collection of 2000–2500 pieces was looted by Nazis and many are still missing.
Gustav Courbet's paintings Village Girl With Goat, The Father, and Landscape With Rocks were discovered in the Gurlitt Trove of art stashed in Munich. It is not known to whom they belonged.
Josephine Weinmann and her family, who were German Jews, had owned Le Grand Pont before they were forced to flee. The Nazi militant Herbert Schaefer acquired it and loaned it to the Yale University Art Gallery, against whom the Weinmanns filed a claim.
The French Database of Art Objects at the Jeu de Paume (Cultural Plunder by the Einsatzstab Reichsleiter Rosenberg) has 41 entries for Courbet.
In March 2023, a museum at the University of Cambridge, in the United Kingdom, returned a painting La Ronde Enfantine by Gustave Courbet, which was stolen in 1941 by the Nazis in Paris. The canvas belonged to a Jewish member of the Resistance. The Spoliation Advisory Panel, a body created in 2000 by the British government, concluded on 28 March "that the painting was stolen by the Nazi occupation forces because Robert Bing was Jewish".
See also
History of painting
Léonce Bénédite
List of Orientalist artists
Lost artworks
Orientalism
Western painting
Notes
References
Works cited
Berger, John (1965). The Success and Failure of Picasso. Penguin Books, Ltd. ISBN 978-0-679-73725-4.
Danto, Arthur (23 January 1989). "Courbet". The Nation. pp. 97–100.
Faunce, Sarah; Nochlin, Linda (1988). Courbet Reconsidered. Issued on the occasion of an exhibition to open at the Brooklyn Museum Nov. 4, 1988 – Jan. 16, 1989, the Minneapolis Inst. of Arts Febr. 18 – April 30, 1989. Brooklyn, NY: Brooklyn Museum. ISBN 0-300-04298-1.
Fischer, Matthias (2009). Der junge Hodler. Eine Künstlerkarriere 1872–1897. Wädenswil: Nimbus. ISBN 978-3-907142-30-1.
Forster-Hahn, Françoise (2001). Spirit of an Age: Nineteenth-Century Paintings from the Nationalgalerie, Berlin. London: National Gallery Company. ISBN 1-85709-981-8.
Herding, Klaus (August 2023). "Courbet, (Jean-Désiré-)Gustave". Grove Art Online. Oxford University Press.
Milza, Pierre (2009). L'année terrible – La Commune (Mars–Juin 1871). Paris: Perrin. ISBN 978-2-262-03073-5.
Masanès, Fabrice (2006). Gustave Courbet. Cologne: Taschen. ISBN 3-8228-5683-5.
Riat, Georges (1906). Gustave Courbet – peintre. Paris: Floury. OCLC 902368834.
Schwabsky, Barry (24 March 2008). "Daring Intransigence". The Nation. pp. 28–34. Archived from the original on 19 April 2016. Retrieved 9 September 2019.
This article incorporates text from a publication now in the public domain: Frantz, Henri (1911). "Courbet, Gustave". In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. 7 (11th ed.). Cambridge University Press.
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 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).
Bond, Anthony, "Embodying the Real", Body. The Art Gallery of New South Wales (1997).
Champfleury, Les Grandes Figures d'hier et d'aujourd'hui (Paris, 1861)
Chu, Petra ten Doesschate. Courbet in Perspective. (Prentice Hall, 1977) ISBN 9780131844322
Chu, Petra ten Doesschate and Gustave Courbet. Letters of Gustave Courbet. (Chicago: Univ Chicago Press, 1992) ISBN 0-226-11653-0
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 0-691-12679-8
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 978-0-520-21745-4. (Considered the definitive treatment of Courbet's politics and painting in 1848, and a foundational text of Marxist art history.)
"Courbet, Gustave (Jean-Désiré-Gustave)". Benezit Dictionary of Artists. Oxford University Press. October 2011. doi:10.1093/benz/9780199773787.article.B00043502. ISBN 978-0-19-989991-3.
Faunce, Sara, "Feminist in Spite of Himself", Body. The Art Gallery of New South Wales (1997).
Griffiths, Harriet & Alister Mill, Courbet's early Salon exhibition record, Database of Salon Artists, 1827–1850
Howe, Jeffery (ed.), Courbet. Mapping Realism. Paintings from the Royal Museums of Fine Arts of Belgium and American Collections, exhibition catalogue, McMullen Museum of Art, Boston College, 1 September – 8 December 2013 [distributed by the University of Chicago Press]
Hutchinson, Mark, "The history of The Origin of the World", Times Literary Supplement, 8 August 2007.
Lemonnier, C, Les Peintres de la Vie (Paris, 1888).
Lindsay, Jack. Gustave Courbet his life and art. Publ. Jupiter Books (London) Limited 1977.
Mantz, "G. Courbet," Gaz. des beaux-arts (Paris, 1878)
Nochlin, Linda, Courbet (London: Thames & Hudson, 2007) ISBN 978-0-500-28676-0
Nochlin, Linda, Realism: Style and Civilization (New York: Penguin, 1972).
Rogers, David (2001). "Courbet, Gustave". In Brigstocke, Hugh (ed.). The Oxford Companion to Western Art. Oxford University Press. p. 159. ISBN 978-0-19-866203-7.
Savatier, Thierry, El origen del mundo. Historia de un cuadro de Gustave Courbet. Ediciones TREA (Gijón, 2009). ISBN 978-84-9704-471-4
Tennant Jackson, Jenny, "Courbet's Trauerspiel: Trouble with Women in the Painter's Studio." in G. Pollock (ed.), Visual Politics of Psychoanalysis, London: I.B.Tauris, 2013. ISBN 978-1-78076-316-3
Zola, Émile, Mes Haines (Paris, 1879)
External links
47 artworks by or after Gustave Courbet at the Art UK site
Gustave Courbet papers at the University of Maryland Libraries
Gustave Courbet, works at Musée d'Orsay, Paris Archived 7 August 2020 at the Wayback Machine
Joconde, Portail des collections des musées de France
Union List of Artist Names, Getty Vocabularies. ULAN Full Record Display for Gustave Courbet. Getty Vocabulary Program, Getty Research Institute. Los Angeles, California
The Painter's Studio (L'atelier du peintre), on-line, in increased reality, Musée d'Orsay
'Le chef de l'école du laid': Gustave Courbet in 19th-century caricatures. European Studies Blog, British Library.
Jennifer A. Thompson, "Marine by Gustave Courbet (cat. 948)," in The John G. Johnson Collection: A History and Selected Works, a Philadelphia Museum of Art free digital publication
Gustave Loiseau (3 October 1865 – 10 October 1935) was a French Post-Impressionist painter, remembered above all for his landscapes and scenes of Paris streets.
Early life
Loiseau was born in Paris and was brought up there, and at Pontoise, by parents who owned a butchers shop. He served an apprenticeship with a decorator who was a friend of the family. In 1887, when a legacy from his grandmother allowed him to concentrate on painting, he enrolled at the École des arts décoratifs where he studied life-drawing. However, a year later he left the school after an argument with his teacher.
Career
While working as a decorator, Loiseau redecorated the apartment of the landscape painter Fernand Quignon (1854–1941). After he left the École des arts décoratifs, he invited Quignon tutor him in painting. In 1890, he went to Pont-Aven in Brittany for the first time, fraternizing with the artists there, especially Paul Gauguin and Émile Bernard. After experimenting with Pointillism, he adopted his own approach to Post-Impressionism, painting landscapes directly from nature. His technique known as en treillis or cross-hatching gave his works a special quality, now recognized as his speciality.
Loiseau first exhibited at the Salon des Indépendants in 1893 and at the Salon de la Société Nationale in 1895 as well as at impressionist exhibitions in 1890 and 1896.
Loiseau died in Paris on 10 October 1935.
Paintings
Loiseau's paintings, revealing his passion for the seasons from the beginning of spring to the harvests later in the autumn, often depict the same orchard or garden scene as time goes by. Series of this kind, which also include cliffs, harbours or churches, are reminiscent of Claude Monet. Although Loiseau did not complete many portraits, he often painted people at work: dockers together with their boats, villagers leaving a Sunday service in Brittany or arriving at the market in Pont-Aven, or even carriages in Paris driving across the Place de la Bastille and the Étoile. He is also remembered for his paintings of Paris streets such as the Rue de Clignancourt or the Avenue de Fiedland. From the 1920s, he painted many still-lifes. His overall approach, rather than being associated with any particular theory, is simply an attempt to represent scenes as sincerely as possible.
References
== Bibliography ==
Guy François may refer to:
Guy François (painter) (1578–1650), French painter
Guy François (colonel) (died 2006), colonel from Haiti
Guy François (footballer) (1947–2019), football player from Haiti
Gyula Benczúr (28 January 1844, Nyíregyháza – 16 July 1920, Szécsény) was a Hungarian painter and art teacher. An "outstanding exponent of academicism", he specialized in portraits and historical scenes. He is "considered one of the greatest Hungarian masters of historicism".
Biography
Benczúr was born in the city of Nyíregyháza on the 28th January 1844, to Vilmos Benczúr and Paulina Laszgallner. He came from an old noble family on his father's side. His family moved to Kassa (now Košice) when he was still very young and he displayed an early talent for drawing. He began his studies in 1861 with Hermann Anschutz and Johann Georg Hiltensperger (1806–1890). From 1865 to 1869, he studied with Karl von Piloty. In 1869, Benczúr traveled to Italy to pursue further studies.
He achieved international success in 1870 when he won the Hungarian national competition for historical painting with his depiction of King Stephen's baptism. He then assisted Piloty with the frescoes at the Maximilianeum and the Rathaus in Munich and illustrated books by the great German writer, Friedrich Schiller. King Ludwig II of Bavaria gave him several commissions. In 1873, in Munich, he married Lina, the sister of the Munich painter Gabriel von Max. In the summer of 1874, the king sent him to France to study at Fontainebleau.
He was named a Professor at the Academy of Fine Arts, Munich, in 1875. Soon after, he built a home in Ambach on Lake Starnberg; designed by his brother Béla. In 1883, he returned to Hungary, where he continued to be an art teacher. One of his most distinguished pupils was the Swiss-born American painter Adolfo Müller-Ury. Benczúr was later a favorite among the Hungarian upper-class, painting numerous portraits of kings and aristocrats. He also created some religious works; notably altarpieces for St. Stephen's Basilica and Buda Castle.
He was an honorary member of the Hungarian Academy of Sciences. He spent his last years in Dolány, Nógrád county, in northern Hungary. Following his death the village was named Benczúrfalva in honor of him.
In 2019 the National Bank of Hungary issued new silver coins to mark the 175th anniversary of Benczúr's birth. In 2020, in commemoration of the 100th anniversary of Benczúr's death, the Embassy of Hungary in Azerbaijan, with the support of the Embassy of the Republic of Azerbaijan in Hungary, the Ministry of Education of the Republic of Azerbaijan, held an art contest for Azerbaijani children between the ages of 6 and 17.
Streets have been named after him in Balassagyarmat, Balatonkenese, Berettyóújfalu, Bonyhád, Budapest, Debrecen, Jászberény, Komló, Pécs, Szabadszállás, Szeged and Košice. His daughters Olga (1875–1962) and Ida (1876–1970) also became well-known artists.