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NOTES
Mack,134.
3 Champfleury,Letterto Mme. Sand,September,1855, repr.in Nochlin,
1966, 42.
4 G.W. Koltzsch, Maler und Modell im Atelier, exh. cat., Baden-Baden,
1969, text with pl. 17. Courbetcould have seen this print in any one of
severalplacespriorto paintingTheAtelier.The BibliothequeNationale
now owns four copies; two werein the MarollesCollection,acquiredby
Colbertfor LouisXIV.(LetterfromJean-Pierre
Seguin,Conservateur-enChef, Nov. 13, 1980.) Lindsay, 83 and 115, and Mack, 114 and 82, list
311
Wandering Jew," Art Bulletin, XLIX,1968, 220; idem (as in n. 5), 218-19.
s M. Winner, "GemalteKunsttheorie:zu GustaveCourbets'Allegorie
Reelle' und der Tradition," Jahrbuch der BerlinerMuseum, 1960-61, 157.
9Koltzsch(as in n. 4).
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312
midst of everyday reality ... As soon as beauty is real and visible it has its own artistic expression from these very qualities.
Artifice has no right to amplify this expression. ... The beauty
provided by nature is superior to all the conventions of the artist ... Beauty like Truth is a thing relative to the time in which
one lives and the individual capable of understanding it. The
expression of the beautiful bears a precise relation to the
power of perception acquired by the artist. These are my basic
ideas about art.'1
Thus, the model is Courbet's personification of Truth and
Beauty, and his recasting of them into a modern image is appropriate to the realist character of his style.
The child who stands at Courbet's left in The Atelier has been
considered the "innocent eye which lacks convention" by Hofmann, Lindsay, and Nicolson." Mack and Nochlin see him as the
"homage of future generations.""2 Meyer Shapiro viewed the little boy as a metaphor for Courbet's own sincerity, truth, and
naivet,,13 while Lindsay points out that the child and model are
the only figures who note the work in progress on the easel.14
Thus, the child and model create an effective bracket around
the artist at his easel. If one is taken to be allegorical, so plausibly
may the other. While the child appears as innocent, unlettered,
and naive, he also plays an allegorical role, like the model. The
idea of Love as a poor boy, unusual in allegorical painting, yet
has a base in a text so fundamental to Western thinking that its
availability at any time can hardly be gainsaid. Plato in the
Symposium described him thus:
In the first place he [Love] is always poor, and anything but
tender and fair, as the many imagine him; and he is rough and
squalid ... and like his mother [Poverty] he is always in dis-
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ife
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NOTES
tress. Like his father [Plenty] too ... keen in the pursuit of
wisdom, fertile in resources ... he is in a mean [balance] between ignorance and knowledge ... and being a lover of
wisdom is in a mean between the wise and the ignorant.'5
Love is an attribute of Venus, because he loves Beauty, and
follows her because he was born on her birthday.16However, the
Symposium specifically indicates that love "has no shoes,"17and
Courbet's Love wears sabots.
A visual prototype for Love with sabots is found in PierrePaul Prud'hon's Love and Innocence (Fig. 3), a drawing issued as
an engraving in three different states and also as a lithograph.s1
The representative of Innocence is a girl, and that of Love is
barefooted, but his sabots also appear on the ground beside him.
Lindsay indicates that especially between 1851 and 1855,
sabots were commonly used as a socially charged emblem for the
"realist savages,"'9 of whom Courbet was certainly thought to be
one of the most prominent artistic, if not political representatives.20During this period, cartoons and caricatures frequently
appeared showing Courbet with his models, a Venus, and figures
from his works wearing sabots. One by Cham (1851) shows a
jury awarding sabots to Courbet as a prize for the
Stonebreakers.21Thus, in this instance, sabots could be taken as
Courbet's personal attribute.
As a reference to the satirical cartoons, the image of innocence
and naivete began to emerge as a peasant. It remained, however,
for Courbet to cast Love as an emblem relevant to himself, his
art, and Beauty.
Courbet is the hero of The Atelier, as its full title and the situation indicate. In his introduction to Maler und Modell im Atelier,
George W. Koltzsch states that in every atelier self-portrait, the
status, skill, and imagination of the artist are the real subjects of
the work.22 Winner believes that any canvas on the easel in this
genre regardless of subject allows artist and work to stand for
Painting, Art, and Creation, the work being proof of the artist's
genius.23 As Hofmann indicates, the central section of the work
does glorify Courbet's artistic powers,24 and Bowness affirms
this, stating that Courbet is unequivocally the hero of the work.25
This interpretation is consistent with the allegorial import of the
15 Plato, Symposium, trans. B. Jowett,
Indianapolis, 43. This was brought
Ibid., 44.
17
Ibid., 45.
18E. de Goncourt, Catalogue raisonne de l'oeuvre
peint, dessine, et grave
de PP. Prud'hon, Paris, 1876, 129, No. 52: engraved by Villerey in 1817,
lithograph issued by Leglume, drawing collection of the Duc d'Aumale;
J. Guiffrey, L'oeuvre de P.P. Prud'hon, Paris, 1924, 280, No. 756; 281,
No. 758, another drawing sold in March 1845.
19Champfleury, Le messager de l'assemblee, Feb., 1851, 25-26, cited in
Lindsay, 78: "Some declare the painter is the leader of Socialist bands;
they write that he is the son of the democratic republic of 1848; they'd
like to put black mourning on the Belvedere Apollo. If one hearkened to
them, the members of the institute should sit in their armchairs as the
senators once did in their curule chairs, and die proudly, stricken by the
muddy sabots of the realist savages."
20 Lindsay, 76-78, and 140.
21C. L6ger and T. Duret, preface, Courbet selon les caricatures et les images, Paris, 1920, show many of the illustrations of 1851-55 that
emphasize the sabots. Among them are several by Cham, 12, 14, 18; some
by Quillenbois, 28 and 30, as well as the Hadol Venus in Sabots, 37.
22Koltzsch (as in n. 4), intro.
23 Winner (as in n. 8), 157.
24 Hofmann,
313
Saenredam print.
However, the emblem has a picture of Beauty (Venus) on the
canvas, not the landscape Courbet's easel presents. Yet commentators say that the relevance of the landscape is the same as
Beauty's relevance to the emblem. According to Nochlin,
landscape reflects the beauty of nature,26while Hofmann states
that it represents reality.27Mack insists that it represents realism
as the only true art,28whereas, as already noted, Winner holds
that any canvas in such a work proves genius.29
Shapiro notes that it is traditional in atelier self-portraits for
an artist to paint a landscape,30and although he does not cite examples, many exist in Netherlandish and French art (Figs. 4 and
5). Courbet's landscape appears remarkably like that seen in the
Boucher (Fig. 5), leading one to suspect that Courbet was
familiar with it, or Igonet's engraving of it, titled Painting.
Philosophically, Courbet holds that works based on nature are
beautiful and express an ideal material archetype.31 Prior to
Courbet, J.B. Deperthes' Theorie du paysage of 1818 significantly ranked landscape immediately after history painting for its
ability "to move the soul and exalt the imagination of the spectator," because the true goal of art is the "faithful imitation of
beautiful nature."32 By placing a landscape on his easel, Courbet
gives it preeminence as a genre just as he gives preeminence to
realism by placing sabots on Cupid and casting his Venus, along
with other aspects of Saenredam's Allegory of Vision, into his
realist style.
It is true that by 1848 landscape and genre seemed to have won
the day. In The Absolute Bourgeois, T.J. Clark notes that in the
Salon of that year, "thirty-six prizes went to painters of genre,
and forty-three to landscapists; the history painters carried off
only fifteen."33 Clark adds that during the next two years
landscape was the second most important form of art the State
The transformation of the attitude toward
purchased.34
landscape is summarized by J.C. Sloane's remark that "modernism appeared first in the humble field of landscape,"3- and
James Rubin follows, remarking '"what may be said to emerge
from the center of the picture [could be interpreted] as a definition of Realism as pure landscape painting."36 In this light,
landscape represents modernism and denotes an aspect of
oeuvre, see M. Fried, "Representing Representation: On the Central
Group in Gustave Courbet's 'Studio,'" Art in America, Sept., 1981, 127133 and 168-178.
A. Bowness, "The Painter's Studio," repr. in Courbet in Perspective,
ed. P. ten Doesschate Chu, Englewood Cliffs, N.J., 1977, 130.
25
27Hofmann, 17.
28Mack, 131.
29 Winner (as in n. 8), 157.
30 Shapiro (as in n. 13), 183.
34
Ibid., 69.
J.C. Sloane, French Painting Between the Past and the Present, Princeton, 1951, 71 and 75.
36
J.H. Rubin, Realism and Social Vision in Courbet and Proudhon,
Princeton, 1980, 6.
3-
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314
Oct. 7, 1869: "Ces Chats sont decidement accroches au fameux clou qui
41Ibid., 144-45.
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NOTES
315
jX Ai
'warnitej/Z/st'
dewAs-
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7 Barent
Fabritius,
Sight.
Aachen,
Siiermondt
Museum
(photo:
Museum)
"look,""Lynx";Ix,s.v. "sight."
44Letterfrom Jean-PierreSeguin (footnote4): the Goltziusplatesat the
BibliothequeNationaleareunderrestoration,so that the presenceof this
one in the collectioncannotbe verifiedat this time.
45 T. Gautier,"EcoleNationaledes Beaux-Arts:The Symbolismof the
Republic," L'artiste, 5e serie, June 15, 1848, 160-61, repr. in E. Holt, The
Triumph of Art for the Public, New York, 1979, 495-496; Champfleury
(as in n. 39), 28-32.
46Champfleury, 31-32.
47
Ibid., 32.
48 Gautier, 495-96.
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316
Independence. 49
Numerous representations of Liberty and her cat were
available, as Gautier and Champfleury demonstrate. In addition,
the cat will not tolerate constraint, a quality that Courbet
demonstrates by holding an independent retrospective for himself which paralleled those given for Ingres and Delacroix at the
Universal Exposition at the offical 1855 Salon.
In his letter to Mme. Sand, Champfleury confirms that
through the Courbet exhibit where The Atelier was the principal
piece, a new blow for Liberty was struck. Courbet is presented
as: "A painter whose name has made an explosion since the
February Revolution. ... It is an incredibly audacious act; it is the
subversion of all institutions associated with the jury; it is a
direct appeal to the public, it is liberty say some. ..."50
It is impossible to think that Courbet was unfamiliar with
Republican symbols. He loved his grandfather, a veteran of
1793. The seven-year phase that The Atelier covers, according to
its subtitle, began in 1848, the year of the February Revolution
and birth of the Second Republic as well as Courbet's creation of
his first Salon success, After Dinner at Ornans. Courbet's
socialist and Republican sympathies were well established in
1848, when he helped to found the Republican newspaper, Le
salut public.
Courbet's introduction to the 1855 Pavilion of Realism, his
written manifesto, was accompanied by a visual manifesto as
well, The Atelier of the Painter: A Real Allegory Summarizing a
Period of Seven Years in My Life as an Artist. The painting
parallels Courbet's introduction to the catalogue showing his
clear understanding and use of tradition and visually states:
I have studied, outside of any system and without prejudice,
the art of the ancients and the art of the moderns. I no more
wanted to imitate the one than to copy the other. 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 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.51
The Columbus College of Art and Design
Columbus, OH 43215
Bibliography
Hofmann,W., Art in the NineteenthCentury,trans.B. Battershaw,London, 196.
Lindsay,J., GustaveCourbet:His LifeandArt, New York,1973.
Mack,G., GustaveCourbet,Greenwich,Conn., 1952.
Ibid., 495: "and the cat, independence- becausethis animalis never
perfectlytamedandsupportsconstraintimpatiently."
50 Repr. in Nochlin, 1966, 37-38. It is interestingthat in 1850 Courbet
hadan exhibitionin Dijon,wherethePrud'honAllegoryof the Constitutionwas hanging.The workwas laterreproducedin part(Libertyandher
cat) in Champfleury'sLes chats. Although the work may have been
available,I do not insist thatCourbetdid see it in Dijon.
51G. Courbet,Exhibitionet vente de 40 tableauxet 4 dessinsde l'oeuvre
de M. Gustave Courbet,Avenue Montaigne,Paris,1855, n.p., repr.in
Nochlin, 1966, 33-34; facsimilewith completelistings in Leger(as in n.
49
10), 60-62.
Nicolson, B., Courbet: The Studio of the Painter, New York, 1973.
Nochlin, L., 1963, "The Development and Nature of Realism in the
Work of Gustave Courbet," Ph.D. diss., New York University.
1966, ed., Realism and Tradition in Art, 1848-1900, Englewood
,
Cliffs, NJ.
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