| L'Origine du monde | |
|---|---|
 | |
| Artist | Gustave Courbet |
| Year | 1866 |
| Medium | Oil on canvas |
| Dimensions | 46 cm× 55 cm(18 in× 22 in) |
| Location | Musée d'Orsay, Paris |
L'Origine du monde ("The Origin of the World") is a picture painted in oil on canvas by the French artist Gustave Courbet in 1866. It is a close-up view of the vulva and abdomen of a naked woman, lying on a bed with legs spread.
Art historians had speculated for years that Courbet's model for L'Origine du monde was his favourite model, Joanna Hiffernan, also known as Jo. Her lover at the time was the American painter James Whistler, a friend of Courbet. [1]
Hiffernan was the subject of a series of four portraits by Courbet titled Jo, la belle Irlandaise (Jo, the beautiful Irishwoman) painted in 1865–66. The possibility that she was the model for L'Origine du monde [2] [3] or that she was having an affair with Courbet might explain Courbet's and Whistler's brutal separation a short while later. [4] In spite of Hiffernan's red hair contrasting with the darker pubic hair of L'Origine du monde, the hypothesis continues that Hiffernan was the model. Redhead Jacky Colliss Harvey puts forward the idea that the woman's body hair suggests a more obvious candidate might be the brunette painted with Hiffernan in Courbet's Le Sommeil ; and that the identification with Hiffernan has been greatly influenced by the eroticised and sexualised image of the female redhead. [5]
In February 2013, Paris Match reported that Courbet expert Jean-Jacques Fernier had authenticated a painting of a young woman's head and shoulders as the upper section of L'Origine du monde which according to some was severed from the original work. Fernier has stated that because of the conclusions reached after two years of analysis, the head will be added to the next edition of the Courbet catalogue raisonné. [2] [6] The Musée d'Orsay has indicated that L'Origine du monde was not part of a larger work. [7] The Daily Telegraph reported that "experts at the [French] art research centre CARAA (Centre d'Analyses et de Recherche en Art et Archéologie) were able to align the two paintings via grooves made by the original wooden frame and lines in the canvas itself, whose grain matched." [2] According to CARAA, it performed pigment analyses which were identified as classical pigments of the 2nd half of the 19th century. No other conclusions were reported by the CARAA. [8] The claim reported by Paris Match was characterized as dubious by Le Monde art critic Philippe Dagen, indicating differences in style, and that canvas similarities could be caused by buying from the same shop. [9]
Documentary evidence however links the painting with Constance Quéniaux, a former dancer at the Paris Opera and a mistress of the Ottoman diplomat Halil Şerif Pasha (Khalil Bey) who commissioned the painting. [10] According to the historian Claude Schopp and the head of the French National Library's prints department, Sylvie Aubenas, the evidence is found in correspondence between Alexandre Dumas fils and George Sand. [11] Another potential model was Marie-Anne Detourbay, who also was a mistress of Halil Şerif Pasha. [11]
Halil Şerif Pasha (Khalil Bey), an Ottoman diplomat, is believed to have commissioned the work shortly after he moved to Paris. Charles Augustin Sainte-Beuve introduced him to Courbet and he ordered a painting to add to his personal collection of erotic pictures, which already included Le Bain turc (The Turkish Bath) from Ingres and another painting by Courbet, Le Sommeil (The Sleepers), for which it is supposed that Hiffernan was one of the models. [10]
After Khalil Bey's finances were ruined by gambling, the painting subsequently passed through a series of private collections. It was first bought during the sale of the Khalil Bey collection in 1868, by antique dealer Antoine de la Narde. Edmond de Goncourt hit upon it in an antique shop in 1889, hidden behind a wooden pane decorated with the painting of a castle or a church in a snowy landscape. According to Robert Fernier, who published two volumes of the Courbet catalogue raisonné and founded the Musée Courbet, Hungarian collector Baron Ferenc Hatvany bought it at the Bernheim-Jeune gallery in 1910 and took it with him to Budapest. Towards the end of the Second World War the painting was looted by Soviet troops, but later ransomed by Hatvany. Hatvany left Hungary, which was on the brink of a Communist takeover, in 1947. He was allowed to take only one art work with him, and he took L'Origine to Paris. [12]
In 1955 L'Origine du monde was sold at auction for 1.5 million francs, about US$4,285 at the time. [13] Its new owner was the psychoanalyst Jacques Lacan. He and his wife, actress Sylvia Bataille, installed it in their country house in Guitrancourt. Lacan asked André Masson, his stepbrother, to build a double bottom frame and draw another picture thereon. Masson painted a surrealist, allusive version of L'Origine du monde. [14] [15]
The New York public had the opportunity to view L'Origine du monde in 1988 during the Courbet Reconsidered show at the Brooklyn Museum; the painting was also included in the exhibition Gustave Courbet at the Metropolitan Museum of Art in 2008. After Lacan died in 1981, the French Minister of Economy and Finances agreed to settle the family's inheritance tax bill through the transfer of the work ( "Dation en paiement" in French law) to the Musée d'Orsay; the transfer was finalized in 1995. [10]
During the 19th century, the display of the nude body underwent a revolution whose main activists were Courbet and Manet. Courbet rejected academic painting and its smooth, idealised nudes, but he also directly recriminated the hypocritical social conventions of the Second Empire, where eroticism and even pornography were acceptable in mythological or oneiric paintings.
Courbet later insisted he never lied in his paintings, and his realism pushed the limits of what was considered presentable. With L'Origine du monde, he has made even more explicit the eroticism of Manet's Olympia . Maxime Du Camp, in a harsh tirade, reported his visit to the work's purchaser, and his sight of a painting "giving realism's last word". [16]
By the very nature of its realistic, graphic nudity, the painting still has the power to shock and trigger censorship.
Although moral standards and resulting taboos regarding the artistic display of nudity have changed since Courbet, owing especially to photography and cinema, the painting remained provocative. Its arrival at the Musée d'Orsay caused high excitement. According to postcard sales, in 2007 L'Origine du monde was the second most popular painting in the Musée d'Orsay, after Renoir's Bal du moulin de la Galette . [17]
Some critics maintain that the body depicted is not (as has been argued) a lively erotic portrayal of a female but of a corpse: "L'Origine does not represent a full female body but rather a slice of one, cut off by the frame [...]. The pallidness of the skin and the mortuary gauze surrounding the body suggest death." [18]
The explicitness of the picture may have served as an inspiration, albeit with a satirical twist, for Marcel Duchamp's last major work, Étant donnés (1946–1966), a construction also featuring the image of a woman lying on her back with her legs spread. [19]
In 1989, French artist Orlan created the cibachrome L'origine de la guerre (The Origin of War), a male version of L'origine du monde showing a penile erection. [20]
Brazilian artist Vik Muniz created two versions of the famous painting. "The first [1999] is a photograph made of dust or dirt, which plays with the common moralist association between female genitalia and filth. In the second piece [2013], Muniz remakes L'Origine from an assemblage of journal clippings that are reminiscent of the anatomic and artistic procedure of cutting that produced [...] the female body." [21]
Two Origins of the World (2000) by Mexican artist Enrique Chagoya "recycles L'Origine du monde as a spectral backdrop behind three solid black, blue and white squares of canvas in three of the corners of the painting. In the foreground of the bottom right corner, an indigenous man sits at a fourth canvas, this one on an easel, apparently 'interpreting' the Courbet painting." [22]
In 2002, American artist Jack Daws created an homage to the painting. Entitled Origins of the World, it is a collection of various photographs of vulvas, taken from pornographic magazines, and framed in montage. [23]
The British artist Anish Kapoor created an installation in 2004 called L'Origine du monde, which references Courbet's painting. The piece is in the 21st Century Museum of Contemporary Art, Kanazawa in Japan. [24]
The image is also referenced as inspiring Catherine Breillat's filming of the female genitalia in her 2004 film Anatomie de l'enfer ( Anatomy of Hell ). [25]
The Serbian performance artist Tanja Ostojić parodied the work in a poster in 2005, informally called the "EU panties" poster. Like Courbet's painting, the poster proved controversial, and was ultimately removed from the art exhibition in which it was originally displayed.[ citation needed ]
The French artist Bettina Rheims closes The Book of Olga (2008) with a photo of protagonist Olga Rodionova depicting L'Origine du monde almost completely. The few differences represent the evolution of tastes from the 19th to the 21st centuries: perfectly depilated genitalia with clitoral piercing jewelry and an intimate tattoo of Olga Rodionova, in comparison to natural hairy look of Constance Quéniaux. [26] The controversial book gained wide fame and became the subject of a legal fight in Russia. On 23 February 2009 in Braga, Portugal, the police confiscated the book Pornocratie by Catherine Breillat, displayed in bookshops using L'Origine du monde as its cover. [27] A great deal of controversy was sparked by the police action. The reason given was the need to maintain public order. Also, the book title incorrectly hinted at pornographic content. Portuguese law forbids public displays of pornography.[ citation needed ]
In 2010, British composer Tony Hymas composed De l'origine du monde a musical suite dedicated to the picture as well as relations between Courbet and the Paris Commune, based on texts by Courbet himself, Charles Baudelaire and Pierre Dupont.[ citation needed ]
The German-born Turkish artist Taner Ceylan has painted a work named 1879 (From the Lost Paintings Series) (2011) in which a veiled Ottoman noblewoman stands before the framed canvas of L'Origine du monde. [28] [29]
On 29 May 2014, a Luxembourg performance artist, Deborah De Robertis, sat on the floor in front of the painting and mimicked the view of the subject. This resulted in security guards closing the room and her arrest. [30] [31]
US artist Candice Lin recreated L'Origine du monde in a video of her an audiovisual sculpture Hunter Moon / Inside Out (2015). In it, Courbet's L'Origine du monde with eyes "looks back at the onlookers." From a feminist point of view, Lin's work challenges "the asymmetry of power [...] between those who look and those who are seen." [32]
In May 2024 the painting was one of five painted with "Me Too" at the Centre Pompidou-Metz by two women in a performance art stunt organised by Deborah De Robertis [33] [34] in protest of predatory and exploitative behavior by exhibition curator Bernard Marcadé and other men in the art world. [35] [36]
In February 1994, the novel Adorations perpétuelles (Perpetual Adorations) by Jacques Henric reproduced L'Origine du monde on its cover. Police visited several French bookshops to have them withdraw the book from their windows. A few proprietors maintained the book, but others complied, and some voluntarily removed it.[ citation needed ]
In February 2011, Facebook censored L'Origine du monde after it was posted by Copenhagen-based artist Frode Steinicke, to illustrate his comments about a television program aired on DR2. Following the incident, many other Facebook users defiantly changed their profile pictures to the Courbet painting in an act of solidarity with Steinicke. Facebook, which originally disabled Steinicke's profile, finally re-enabled it without the L'Origine du monde picture. As the case won media attention, Facebook deleted other pages about the painting. [37] [38]
In October 2011, again, a complaint was lodged against Facebook with the Tribunal de grande instance de Paris (Paris court of general jurisdiction) by a French Facebook user after his profile was disabled for showing a picture of L'Origine du monde. The picture was a link to a television program aired on Arte about the history of the painting. As he got no answer to his emails to Facebook, he decided to lodge a complaint for "infringement of freedom of expression" and against the legality of Facebook's terms which define the courts located in Santa Clara County, California, as the exclusive place of jurisdiction for all litigating claims. [39] In February 2016, the Paris court ruled that Facebook could be sued in France. [40]
In 2018 the French court ruled that Facebook had been wrong to close his account. Facebook has changed its policies to allow naked images in art works, and made a donation to a French street art association. [41] [42] [43]
The Musée d'Orsay is a museum in Paris, France, on the Left Bank of the Seine. It is housed in the former Gare d'Orsay, a Beaux-Arts railway station built between 1898 and 1900. The museum holds mainly French art dating from 1848 to 1914, including paintings, sculptures, furniture, and photography. It houses the largest collection of Impressionist and post-Impressionist masterpieces in the world, by painters including Berthe Morisot, Claude Monet, Édouard Manet, Degas, Renoir, Cézanne, Seurat, Sisley, Gauguin, and van Gogh. Many of these works were held at the Galerie nationale du Jeu de Paume prior to the museum's opening in 1986. It is one of the largest art museums in Europe.
The Salon des Refusés, French for "exhibition of rejects", is generally known as an exhibition of works rejected by the jury of the official Paris Salon, but the term is most famously used to refer to the Salon des Refusés of 1863.
Jean Désiré Gustave Courbet was a French painter who led the Realism movement in 19th-century French painting. Committed to painting only what he could see, he rejected academic convention and the Romanticism of the previous generation of visual artists. His independence set an example that was important to later artists, such as the Impressionists and the Cubists. Courbet occupies an important place in 19th-century French painting as an innovator and as an artist willing to make bold social statements through his work.
The Painter's Studio is an 1855 oil-on-canvas painting by Gustave Courbet. It is located in the Musée d'Orsay in Paris, France.
Baron Ferenc Hatvany was a Hungarian painter and art collector. A son of Sándor Hatvany-Deutsch and a member of the Hatvany-Deutsch family, he graduated in the Académie Julian in Paris. His collection included paintings by Tintoretto, Cézanne, Renoir, Ingres and Courbet, most notably L'Origine du monde and Femme nue couchée.
Joanna Hiffernan or Joanna Heffernan was an Irish artists' model and muse who was romantically linked with American painter James Abbott McNeill Whistler and French painter Gustave Courbet. In addition to being an artists' model, Hiffernan herself also drew and painted, although it is not believed she ever exhibited her work.
Khalil Sherif Pasha, transliterated variously as Halil Şerif Pasha, was an Ottoman-Egyptian statesman, diplomat and art collector, who lived during the Tanzimat period. His collection was described by Théophile Gautier as "the first ever to be formed by a child of Islam". He was furthermore involved in diplomatic affairs following the aftermath of the Crimean War. He also served as the Ottoman Minister of Foreign Affairs.
Le Sommeil is an erotic oil painting on canvas by French artist Gustave Courbet created in 1866. The painting, which depicts a lesbian couple, is also known as the Two Friends and Indolence and Lust.
Le ruisseau noir (The Black Stream) (also known in En. as Stream in a Ravine) is an oil-on-canvas landscape painted in 1865 by the French artist Gustave Courbet. It is currently held and exhibited at the Musée d'Orsay in Paris.
Les raboteurs de parquet is an oil painting by French Impressionist Gustave Caillebotte. The canvas measures 102 by 146.5 centimetres. It was originally given by Caillebotte's family in 1894 to the Musée du Luxembourg, then transferred to the Musée du Louvre in 1929. In 1947, it was moved to the Galerie nationale du Jeu de Paume, and in 1986, it was transferred again to the Musée d'Orsay in Paris, where it is currently displayed.
The Musée Courbet or Courbet Museum is a museum dedicated to the French painter Gustave Courbet. It is located in Ornans in the Doubs-Franche-Comté area of France.
Deborah De Robertis is a performance artist and photographer from Luxembourg. She studied at the School of Graphic Research in Belgium and as of May 2020 was living in Brussels.
Laurence des Cars is a French museum curator and art historian. Since September 2021, she has served as director of the Louvre Museum, having previously headed the Musée d'Orsay and Musée de l'Orangerie.
The Wrestlers is a large 1853 painting by the French artist Gustave Courbet, now in the Museum of Fine Arts in Budapest. It shows two men engaged in 'French wrestling', inspired by Greco-Roman wrestling. Documents reveal that it shows a match in the former hippodrome on the Champs-Élysées in Paris. His choice of such a huge canvas inspired Alexandre Falguière's 1875 The Wrestlers.
The Bathers is an oil-on-canvas painting by the French artist Gustave Courbet, first exhibited at the Paris Salon of 1853, where it caused a major scandal. It was unanimously attacked by art critics for the large nude woman at its centre and the sketchy landscape background, both against official artistic canons. It was bought for 3000 francs by Courbet's future friend Alfred Bruyas, an art collector – this acquisition allowed the artist to become financially and artistically independent. It is signed and dated in the bottom right hand corner on a small rock. It has been in the musée Fabre in Montpellier since 1868.
Young Ladies of the Village or The Village Maids is an 1852 oil-on-canvas painting by the French artist Gustave Courbet, now in the Metropolitan Museum of Art, in New York. It is signed bottom left "G. Courbet".
Le Désespéré is an oil-on-canvas self-portrait by Gustave Courbet, produced in 1843–1845, early during his stay in Paris. It is now in the private collection of the Conseil Investissement Art BNP Paribas but was displayed in the Musée d'Orsay's 2007 Courbet exhibition.
Jo, the Beautiful Irishwoman is the title of a series of four oil on canvas bust-length portraits by Gustave Courbet. They all show the same redheaded Irish model Joanna Hiffernan looking in a mirror – she also modelled for Whistler. The works have minor differences in details and dimensions but their exact chronology is unknown. They are now in the Nationalmuseum, the Metropolitan Museum of Art, the Nelson-Atkins Museum of Art and a private collection.
Constance Adolphine Quéniaux was a dancer and courtesan at the Paris Opera Ballet. She is the presumed model for Gustave Courbet's painting L'Origine du monde, in which a woman is seen explicitly displaying her vulva.
Jean-Jacques Fernier was a French architect and historian.
| International | |
|---|---|
| National | |
| Other | |
