Западноевропейское искусство от Хогарта до Сальвадора Дали

In 1855 Courbet's paintings were rejected by the Universal Exposition. These works included the Burial and a more recent programme work The Studio: A Real Allegory Concerning Seven Years of My Artistic Life, painted in 1854-55. A special shed for a large exhibition of Courbet's paintings, including the rejected works was constructed. The artist called this building The Pavilion of Realism. For the catalogue he wrote a preface setting forth the principles of his art. In The Studio the relationship between artist and sitters as seen by Velazquez and Goya is exactly reversed Instead of playing a subsidiary role at one side, the artist displays himself in the centre, at work on a completely visible landscape, similar to those that adorn the walls of the dim studio. A model who has just shed her clothes, probably representing Truth Iooks on approvingly, her figure is beautifully revealed in light. The group at the left remains obscure, but it comprises figures drawn from «society at its best, its worst, and its average," with whom the painter had come into contact. Few of the figures look at the artist; all are silent. Delacroix called the picture a masterpiece, reproaching the jury for having «refused one of the most remarkable works of our times.»

When Courbet reached material success, something of the rude power of his early works vanished from his portraits of the French aristocracy.

After the revolution of 1870 Courbet joined the short-lived Paris Commune, and took part in the commission that decreed the dismantling of the Colonne Vendome. For this he was sentenced under the Third Republic to six months in prison, which he spent in painting still lifes of extraordinary clarity and simplicity and landscapes from photographs. Later he was charged a huge sum for rebuilding the monument, fled to Switzerland, and died in exile, his belongings were sold by the authorities to pay the debt.

Make sure you know how to pronounce the following words:

Courbet; Paris Commune; Switzerland; Ornans; mountainous: subsidiary; pavilion; exile; France; obscure; escarpment; extraordinary; catalogue; amateur; requirements; dehumanising; region

Notes

The Stone Breakers – «Каменотесы»

A Burial at Ornans – «Похороны в Орнане»

The Studio: A Real Allegory Concerning Seven Years of My Artistic Life – «Ателье: реальная аллегория, определяющая семилетний период моей художественной жизни»

The Pavilion of Realism – «Павильон реализма»

The Universal Exposition – Всемирная выставка

Office for the Dead – заупокойная служба

Tasks

I. Read the text. Make sure you understand it. Mark the following statements true or false.

1. Courbet favoured Neo-classicism.

2. Courbet's art embodied the High Renaissance ideals.

3. Courbet's pictures dealt with historical events.

4. Goya had a strong impact on Courbet's works of art.

5. A special shed for a large exhibition of Courbet's paintings was called The Pavilion of Realism.

6. Courbet set forth the principles of his art in a special monograph.

II. How well have you read? Can you answer the following questions?

1. How was Gustav Courbet characterised? What did he determine to create when he came to Paris? What were Courbet's ideas concerning art? What paintings did the Parisian public favour at that time?

2. What subjects did Courbet prefer to paint? Did the public understand The Stone Breakers. What is depicted in this painting? What does its objectivity betray? What methods did Courbet use to achieve the effect? How did Proudhon call this work of art?

3. What Courbet's work of art fulfilled his requirements for true history painting? What does it represent? What does the arrangement of the figures recall? What did Courbet want to express by placing the figures within these landscape limits? How did Courbet paint the faces? What makes this canvas one of the strongest and noblest works of all French painting?

4. What happened in 1855? What is depicted in The Studio Why did Courbet show the relationship between the artist and the sitters in such an unconventional way? What does the nude model symbolise? How did Courbet group the figures? What did Delacroix say about this painting?

5. What did Courbet do during and after the revolution of 1870? Why was Courbet imprisoned? What did Courbet do when he was in prison?

6. What happened to Courbet later in life?

III. i. Give Russian equivalents of tlie following phrases: