000			01998nam a2200253 a 4500
001			023464
005			20231009193212.0
008			220308s20072007nyca 000 u eng d
020			_a9780789209771
050	0	0	_aQ162 _b.A59 2007
082	1		_aREF 759.40 COU _2
100	1		_aLe Men, Segolene
240	1	0	_aToller Cranston Collection
245	1	4	_aCourbet _c/ Segolene Le Men
260			_aNew York _b: Abbeville Press Publishers _c, 2007
300			_a293 p. _c; 24 cm.
504			_aIncludes bibliographical references and index
520			_aWhen Gustave Courbet (1819-1877) began his career in the late 1840s, French painting was dominated by two competing styles: neoclassicism, exemplified by Ingres,and romanticism, exemplified by Delacroix. Courbet, a dynamic and boundlessly self-confident man, proud of his rural origins and guided by his strong Republican beliefs,quickly established a third way. Rejecting the historical and literary subjects of the prevailing styles as too remote from actual experience, Courbet instead depicted scenes of everyday life, particularly among the peasants and the working class, with a naturalism then considered shocking. His paint handling was correspondingly direct: disdaining equally the idealized contours and cool tones of the neoclassicists and the expressive line of the romantics, he laid on his colors almost roughly, often with a palette knife instead of a brush. While Courbet's brand of realism bears a family resemblance to those of his contemporaries Daumier and Millet, its scope is much broader: his masterworks range from the Burial at Ornans (1850), a heroically scaled depiction of a villager's funeral, to the very different Origin of the World (1866), a detailed close-up of the female anatomy, and he also painted many straight landscapes, portraits, and stilllifes.
546			_aEnglish
600	1	4	_aCourbet, Gustave, 1819-1879
650		4	_aPainting, French _y-19th century
942			_cMO
999			_c264694 _d264694