Realism and the Origin of the Avant-Garde in Paris Gustave Courbet and Edouard Manet

Gustave Courbet (French, ) Self-Portrait, c. 1845

Gustave Courbet, The Cellist, Self-Portrait, 1847, Oil on canvas 46 1/8 x 35 1/2 in (117 x 90 cm) Nationalmuseum, Stockholm

Courbet, Portrait of the Artist (Wounded Man) Oil on canvas 31 7/8 x 38 1/4 in (81 x 7 cm) Musée d'Orsay, Paris

Courbet, Man With a Pipe, 1946

Gustave Courbet, Self-Portrait with Dog, 1842

Gustave Courbet, The Stonebreakers, 1849 (destroyed in WW II)

Gustave Courbet, Portrait of Proudhon, 1853

Gustave Courbet, A Burial at Ornans , oil on canvas, 10' 3’ x 21' 9" Musée d'Orsay, Paris

Thomas Couture, Romans of the Decadence, 1847

Gustave Courbet, Burial at Ornans, 1849 compare with Thomas Couture, Romans of the Decadence, 1847

Jean-Baptiste-Siméon Chardin, Grace at Table, 1740 (19"/15") Louvre, Paris Genre painting like this was a traditional genre in European academies of art, which enforced a strict hierarchy of genres that determined a painting’s value: first history, then portrait, genre, landscape, and still life.

William Bouguereau, (left) Mother and Children, The Rest, 1879 (right) Home From the Harvest, 1878, Cummer Museum of Art, Jacksonville, Florida

William Bouguereau, The Broken Pitcher, 1891, the De Young MA, San Francisco

Honoré Daumier, Third Class Carriage, o/c, 1862, c. 25“ x 35"

Honoré Daumier, The Uprising, 1849

Gustave Courbet, The Studio: An Allegory of Seven Years of the Artist's Life, 1855, oil on canvas, over 20 feet wide, Musée d'Orsay, Paris

“I have studied, outside of any system and without prejudice, the art of the ancients and of the Moderns. I no more wanted to imitate the one than to copy the other; nor, furthermore, was it my intuition to attain the trivial goal of art for art's sake. No! I simply wanted to draw forth from a complete acquaintance with tradition the reasoned and independent consciousness of my own individuality" "To know in order to be able to create, that was my idea. To be in a position to translate the customs, the ideas, the appearance of my epoch, according to my own estimation: to be not only a painter, but a man as well: in short, to create living art - this is my goal.“ Gustave Courbet, statement for his Pavilion of Realism, build next to the Paris International Exhibition of 1855

(left) Destruction of Paris following the Franco-Prussian war, siege of Paris, and (right) the Commune 1871, Communards shot by firing squad of French soldiers in the streets of Paris

Courbet, the Communard, and the destruction of the Vendome column, symbol of Napoleonic (French) imperialism "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.“ – Courbet

Gustave Courbet, Self-Portrait at Sainte-Pelagie, 1872 Last self-portrait as prisoner for Communard activities

Henri Fantin-Latour. Portrait of Edouard Manet. 1867, oil on canvas Art Institute of Chicago, Chicago Parisian dandy, flaneur, and “Painter of Modern Life”

Edouard Manet, At the Café, lithograph, 1869

Edouard Manet, Concert at the Tuileries, 1862 o/c, c. 46 x 30,” National Gallery, London. Two portraits of Charles Baudelaire by Manet on left, 1865 Modernity is the transient, the fleeting, the contingent; it is one half of art, the other being the eternal and the immovable. - Charles Baudelaire

Edouard Manet, Dejeuner Sur L’Herb (Luncheon on the Grass), 1862

Titian, Concert Champêtre (Italian Renaissance) 1510 compare with Edouard Manet (French Realism), Déjeuner Sur L’Herbe, 1862

Marcantonio Raimondi, Judgment of Paris, (engraving after Raphael), 1520 compare with Edouard Manet, Déjeuner Sur L’Herbe, 1862

Edouard Manet, Olympia, 1863, oil on canvas, 51 x 74¾ in Musée d'Orsay, Paris

Titian or Giorgione, Venus of Urbino, 1510 (Louvre) compared to Olympia 1863

Alexandre Cabanel (French Academic Painter, ) The Birth of Venus, 51 x 88 inches, 1863

Jean Leon Gerome (Academic classicism), Phrynee Before the Judges, 1861 Daumier cartoon: “Venuses Again, Always Venuses”

William Bouguereau, Birth of Venus, 1879 and Paul Baudry, Venus and Cupid, c. 1857

Edouard Manet, Universal Exposition of 1867, 1867, o/c Painter of Modern Life

Emperor Napoleon III by Hipolyte Flandrin (Salon of 1863) with Plan of Paris – radical urban renewal designed by Baron Haussmann,

1867 Paris International Exhibition

Napoleon III and Baron Haussmann urban renewal, Paris: Blvd. Haussman with Galeries Lafayette, one of the first department stores: commodity culture

Edouard Manet, Civil War in Paris (the Commune) 1871, lithograph

Edouard Manet, The Bar at the Folies Bergere, 38 x 51 in, 1881, Courtauld, London