Gustave CourbetFrankrijk, 1819–1877L'Atelier de l'artiste
The Painter's Studio
Mag men het zien?
Onbekend
Parijs, Frankrijk
De eigenaar is bekend; of het werk nu te zien is, is onbekend.
- Ongewijzigd sinds
- Bron
- Het museum
Over het schilderij
L'Atelier du peintre (Nederlands: Het atelier van de schilder) is een groots opgezet schilderij van de Franse kunstschilder Gustave Courbet, olieverf op doek, 361 × 598 centimeter groot, voltooid in 1855. Het toont een blik in het atelier van de kunstschilder, die zichzelf centraal in het midden portretteert. Het doek geldt als een markerend werk in de omslag van de rond 1850 nog overwegend idealiserende, academisch georiënteerde Franse kunst naar het realisme. Het schilderij bevindt zich in de collectie van het Musée d'Orsay te Parijs.
Gegevens
- Inventarisnummer
- RF 2257
In de catalogus
Bronnen
- Wikidata
- Afbeelding: Musée d'Orsay — Gustave Courbet · Public domain · Wikimedia Commons
Intussen, in het leven van Gustave Courbet
Het hele leven1855
Stages the “Pavilion of Realism”
Refusing to accept the jury's decision, Courbet asked museums and private owners to lend his paintings, had a separate building erected and showed about forty canvases there, without state permission, under the Second Empire. The public was baffled and laughed at the “crude art”, and the critics mocked him; the paintings were appreciated by Delacroix and Baudelaire.
1855
The “Realist Manifesto” in the exhibition catalogue
The catalogue of the Pavilion of Realism opened with a manifesto in which Courbet claimed the right to artistic freedom and the right to show his works to the public on his own. He defined his aim as conveying the customs, ideas and appearance of his time, to be not only a painter but a man as well: to “create living art”.
1855
The Exposition Universelle jury turns down three paintings
Courbet submitted fourteen paintings to the Salon of 1855, part of the Exposition Universelle; three were rejected “for lack of space”, among them the monumental “A Burial at Ornans” and “The Artist's Studio”.
1855
Empress Eugénie before “The Bathers”
According to Proudhon's recollection, Empress Eugénie, visiting the Pavilion of Realism, stopped before Courbet's “Bathers”, with its robustly peasant-like nude body shown without the usual idealization, and exclaimed, “Is this a Percheron too?” She had just been looking at Rosa Bonheur's “Horse Fair”.
1857
Salon of 1857: “Young Ladies on the Banks of the Seine”
At the Salon of 1857 Courbet showed six paintings, among them “Young Ladies on the Banks of the Seine (Summer)”, painted the year before, and the first of his many hunting scenes. Modern women casually displaying their undergarments caused a scandal; pairing sensational works with hunting scenes secured Courbet both notoriety and sales.
