| Self-Portrait with a Black Dog | |
|---|---|
 | |
| Artist | Gustave Courbet |
| Year | 1842-1844 |
| Medium | Oil on canvas |
| Dimensions | 46.3 cm× 55.5 cm(18.2 in× 21.9 in) |
| Location | Petit Palais, Paris |
Self-Portrait with a Black Dog, Portrait of the Artist or Courbet with a Black Dog (French: Courbet au chien noir) is an 1842 oil-on-canvas painting by the French artist Gustave Courbet, retouched by the artist in 1844. It is now in the Petit Palais in Paris.
This painting was one of the first by Courbet to be accepted at the Paris Salon. In the official catalog of the exhibition, opened in March 1844 at the Louvre Palace, it appears under number 414, with the title Portrait of the Author. Of the three paintings that he submitted, only this one was accepted. [1]
Analysis of the canvas reveals that it is the result of a re-use. Thus, we see on the contours the traces of a coat hanger, so as to present the painting in a rounded form. It is assumed that this painting was presented to the Salon public in the slightly rounded form. The artist is seen di sotto, involving a sunken viewer, suggesting that the painting may have been intended for an overdoor. [2]
A young man, Courbet himself, wearing a hat sits on the ground, flanked by a black dog. The character, leaning against a large rock, looks at the viewer while holding a pipe. Behind him a book and a cane are placed among the grass. In the distance are a landscape, a valley, trees and hills, overlooked by blue and cloudy skies. On the left are inscribed in blue the signature "Gustave Courbet" and a date, "1842".
Courbet presents himself in the fashion of the time, with his bohemianism symbolized by his black cape hemmed in light, striped trousers, and long hair, in a landscape of his native land, which was assumed to be the Bonnevaux valley, but which is undoubtedly partly imaginary. [3] By settling in the open air, he follows the process of the English portrait painters of the 18th century, which was in vogue during the Romantic era. [4]
The style and the motif of the painting are noticeably inspired by Théodore Géricault, but also by the "serpentine line" of William Hogarth. [5]
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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.
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The Meeting or "Bonjour, Monsieur Courbet" is an oil-on-canvas painting by Gustave Courbet, made in 1854. It depicts the artist on his way to Montpellier meeting his patron Alfred Bruyas, his servant Calas and his dog. One of the most emblematic works by the artist, it is also one of his most popular. The composition is based on the myth of the Wandering Jew.
Bottle, Glass, Fork is an oil on canvas painting by Pablo Picasso (1881–1973). It was painted in the spring of 1912, at the height of the development of Analytic Cubism. Bottle, Glass, Fork is one of the best representations of the point in Picasso's career when his Cubist painting reached almost full abstraction. The analytic phase of Cubism was an original art movement developed by Picasso and his contemporary Georges Braque (1882–1963) and lasted from 1908-1912. Like Bottle, Glass, Fork, the paintings of this movement are characterized by the limited use of color, and a complex, elegant composition of small, fragmented, tightly interwoven planes within an all-over composition of broader planes. While the figures in Bottle, Glass, Fork can be difficult to discern, the objects do emerge after careful study of the painting. The painting is displayed in the Cleveland Museum of Art.
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Gustave Léonard de Jonghe, Gustave Léonard De Jonghe or Gustave de Jonghe was a Flemish painter known for his glamorous society portraits and genre scenes. After training in Brussels, he started out as a painter of historical and religious subjects in a Realist style. After moving to Paris where he spent most of his active career, he became successful with his scenes of glamorous women in richly decorated interiors.
Joseph Stevens, birth name Edouard Joseph Léopold Stevens was a Belgian animalier painter and engraver. He is mainly known for his paintings with dogs as the principal subject. This included dog portraits, dogs interacting among themselves or with their masters and dog markets. From depicting sentimental scenes in a Romanticist manner his art developed towards a more Realist rendering of dogs living on the street or working for travelling entertainers. He won the admiration of the French realist painter Courbet for these efforts. He was a pioneer of Realism in Belgian art. He further painted horses and singeries, scenes with monkeys engaging in human activities. A few marines by his hand are also known.
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.
The Bacchante is an oil-on-canvas painting by the French artist Gustave Courbet, produced between 1844 and 1847. The painting's title relates the work to images of Bacchantes from Greco-Roman mythology and to Renaissance paintings and sculptures on that subject.
The Happy Lovers is a title given to a c. 1844 painting by the French artist Gustave Courbet, now in the musée des Beaux-Arts de Lyon. One of its earlier titles when exhibited in 1855 at the Pavillon Courbet in Paris was The Waltz. It was sold in the Courbet sale of 1881 and bought by M. Hard and resold to M. Brame, before entering the collection of the musée des Beaux-Arts de Lyon in 1892. The engraver Félix Bracquemond, a friend of the painter, reproduced the work as an etching.
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".
Young Ladies Beside the Seine (Summer) (French - Les Demoiselles des bords de la Seine (été)) is an oil-on-canvas painting by the French Realist Gustave Courbet, created between late 1856 and early 1857. It is held in the Petit Palais, in Paris.
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.
Proudhon and His Children is an oil-on-canvas group portrait by the French painter Gustave Courbet, created in 1865, now held in the Petit Palais in Paris. The main figure is a posthumously produced image of French philosopher Pierre-Joseph Proudhon, who appears with his two children reading and playing.
The Eternal Feminine is an 1877 oil-on-canvas painting by the French Post-Impressionist artist Paul Cézanne. The ambiguous work shows men gathered around a single female figure. A range of professions are represented: writers, lawyers, and a painter.