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Gustave Courbet - Les Cribleuses De Blé (the Corn Sifters)
THIS picture was sketched at Ornans at the end of 1853. The artist seems to have tried suddenly to break away from his usual technique. He substituted the brightest tonality for the black backgrounds which he had hitherto affected and from which he loved to flood his pictures with light.
Gustave Courbet - Le Chateau D'ornans (the Castle Of Or Nans)
TOGETHER with the Cribleuses de Blé and La Rencontre, which, according to Courbet, was only grudgingly accepted, being thought too personal and pretentious, the artist showed a portrait of a certain Spanish lady whom he had met at Lyons, in the Universal Exhibition of 1855.
Gustave Courbet - L'atelier (the Studio)
A SHORT time before the opening of the exhibition at the beginning of 1855, Courbet suddenly remembered M. de Nieuwerkerque's friendly attitude towards him, and wrote a long urgent letter to his friend Français, asking him to obtain a few small favours for him from the governing body.
Gustave Courbet - L'atelier (continued)
THE refusal of L'Enterrement and L'Atelier roused in Courbet a desire that he had long cherished, for the organization of a private exhibition of his pictures. Bruyas, to whom he looked for financial support, had till then only been mildly enthusiastic about the project.
Gustave Courbet - Courbet Au Col Raye (courbet With A Striped Collar) A Study For L'Atelier
THIS study of Courbet's head by Courbet for picture by Courbet is one of his best pieces of work; and it is incontestably stronger than 'L'Homme a la another fine Courbet.
Gustave Courbet - L'atelier (concluded). La Baigneuse Endormie (the Sleeping Bather)
THE strange thing about the exhibition of 1855 is that the artist himself repudiated the label with which he had ticketed it. The word realist, he said in the preface to his catalogue which he drew up with the help of Castagnary, has been forced on me as the word romantic was forced on the men of 1830.
Gustave Courbet - Mme Marie Crocq
WHEN Courbet made his next public appearance in 1857, he had at least acquired a reputation as an incomparable craftsman. But the critics seem to have used the word expressly to deny him any higher ambition.
Gustave Courbet - Les Demoiselles Au Bord De La Seine (young Women By The Seine)
HIS picture takes us to the neighbourhood of ' Bougival, though it was at Ornans, whither the artist went to forget all the worries of his exhibition, that the first sketches for his Demoiselles du Bord de la Seine were made in 1856.
Gustave Courbet - Chiens Et Lievre (dogs And Hare)
IN the Salon of 1857 Courbet had also, besides a landscape and two portraits, two hunting scenes, the first of a series which he continually extended.
Gustave Courbet - Chasseurs En Foret (sportsmen In A Wood)
ANOTHER fault found with Courbet, with regard to his hunting series, was particularlyunfortunate. About accused him of not knowing how to hold a horn, and Maxime du Camp suspected him of not knowing that hunting in the snow had been prohibited in 1844.
Gustave Courbet - Le Combat De Cerfs (the Stag Fight)
COURBET had been an enthusiastic spectator of stag-fights in the parks at Hamburg andWiesbaden. But it was at Frankfort, after his great shooting adventure, that he began his great picture. The artist had had the head of his victim stuffed and hung with a similar trophy in a studio in the Museum, which was placed at his disposal by the Director, Professor Jacob Becker.
Gustave Courbet - Le Chasseur D'eau (the Water Hunter)
THE Salons of 1857 and 1861 contained most of Courbet's output as a painter of huntingscenes. In the latter exhibition he had, besides Le Combat de Cerf , Un Cerf à l'Eau, Un Renard dans la Neige, and Un Piqueur et son Cheval.
Gustave Courbet - Le Retour De La Conference (the Return From The Conference)
IN 1863 at Saintes, with a great air of mystery, Courbet began a new picture as large as L'Enterrement and L'Atelier. All that he would say about it was that it would be highly critical and comic. The picture was begun in an unfinished building next to the Imperial stud.
Gustave Courbet - Venus Et Psyche (venus And Psyche)
COURBET talked very seriously of painting a series of anti-clerical pictures. If you see him, wrote Champfleury to Buchon in November, 1863, try to keep him in the country as long as possible. He needs contact with Nature. He has been telling Sainte-Beuve that he is going to paint another picture of the priests.
Gustave Courbet - La Femme Au Perroquet (the Woman With The Parrot)
THE parrot which was removed from the hand of Venus reappeared in another picture, even more celebrated, to which it gave its name. It was exhibited at the same time as the Remise des Chevreuils At the Salon of 1866.
Gustave Courbet - Jo, Femme D'irlande (jo, An Irishwoman)
AFTER the episode of La Femme au Perroquet Courbet was on such bad terms with the Government that he could not but be out of humour with the official Salon. He did not altogether refrain from exhibiting but he decided to keep the best of his work for a private exhibition.
Gustave Courbet - La Sieste (the Siesta)
THE exhibition of 1867 occasioned an important and interesting article on Courbet's career from the pen of Castagnary.
Gustave Courbet - La Vague Aux Trois Barques (the Sea With Three Boats)
JUST when the painter seemed to have made up his mind to conquer public opinion with striking subjects and technical concessions, his talent suddenly seemed to spring into active life again in the creation of a series of magnificently powerful, and sanely simple, seascapes.
Gustave Courbet - Falaise D'etretat (cliff At Etretat)
DURING the 1867 exhibition Courbet left Paris for a few days and went to Saint Aubin-sur-Mer, in Calvados, to bathe and to add a few studies to his Channel seascapes. But the greatest pictures of the series date from the artist's stay at Etretat in 1869 with Diaz and his son.
Gustave Courbet - La Vague (the Waves)
THE picture which has become so widely known under this name was called La Mer Orageuse in the Salon catalogue of 1870. Many people preferred it to the Falaise d'Etretat which was painted and exhibited at the same time.
Gustave Courbet - Jules Valles
THE fine pictures just mentioned ought to have convinced Courbet once for all that there was no need for him to be everlastingly running after celebrity in order to achieve fame. Unfortunately circumstances provided him with more perilous opportunities than ever for standing in the limelight.
Gustave Courbet - Faisans Et Pommes (pheasants And Apples)
WHETHER the part that Courbet played in the destruction of the Column be regarded as criminal or merely stupid, it must not be forgotten that he was the only sufferer by it. As he had been the most tactless and the noisiest of all those responsible the blame was thrown entirely on his shoulders.
Gustave Courbet - La Femme De`munich (the Woman Of Munich)
IN spite of the general hostility, which still made it impossible for him to appear in the streets of Paris, Courbet tried in the spring of 1872 to exhibit some of his pictures. He had to live and his position was very precarious. His studio at Ornans had been destroyed by the Prussians. His studio in the Rue Haute-feuille and the Rue du Vieux- Colombier had been stripped of all his pictures.
Gustave Courbet - Maisons Au Bord De L'eau (waterside Houses)
HAVING sold some pictures and ventured into the streets of Paris without misadventure Courbet took heart and left his refuge at Neuilly and went to his native country in search of the consolation that it had so often afforded him. But there, too, people were incensed against him. At Besançon, in the Boat Club, a grocer smashed his glass rather than dine with a Communard.
Gustave Courbet - Les Grands Chataigniers (chestnut Trees)
IT seems incredible now that the unhappy Courbet's expiation should not have been thought complete by this time. However his enemies were preparing a new disaster for him.
Gustave Courbet - Le Chateau De Chillon (the Castle Of Chillon)
THERE are numerous landscapes dating from this period, studies of trees, views of the Cascade d'Hauteville, Lac Léman, La Dent de Jaman and La Dent du Midi. The artist became particularly fond of the Château de Chillon, and loved to paint its bold towers rising above the trans-parent water.
Occultism, Its Past, Present And Future
To many persons the subjects discussed in these lectures may appear preposterous, and therefore those of you who have not studied along meta-physical lines are requested to hold yourselves agnostically until this entire course shall be finished. You do not know whether Occultism is true or not; you are now ready to examine the subject.
Divine Mind, Its Nature And Manifestation
THE God idea seems to be universal, although we are told that in the interior of Australia a tribe of men was discovered who had no conception of God. In all my investigations that is the only mention I have ever seen of a body of people who were entirely without any idea of God or of what is generally meant by the word God.
Dual Mind And Its Origin
Do we let a ray of light pass through a series of colored glasses we find that the color of the last glass it passes through is the tint that the light will take ; and the tint of the light will be accentuated because the colored glass modifies certain other colors not consonant with its own nature, while it permits the rays of a similar vibration to its own to pass through.
Art Of Self-Control
This lecture on The Art of Self-Control might be said to be an amplification of that utterance of Solomon. I am free to admit that it is much easier to talk about self-control than it is to practice it, but, nevertheless, there are certain ways whereby we can, in a measure, exercise self-control.
Law Of Re-Embodiment
HERBERT SPENCER, in his First Principles, discusses force and matter, and after a long dissertation he accepts as a fact the indestructibility of matter and the persistency of force. The idea he develops is that it makes no difference how often matter and force may change form.
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