Gustave Courbet quotes - page 2
..in our civilized society I must lead the life of a savage. I must free myself even from governments. My sympathies lies with the people; I must go to them directly. I must draw my wisdom from them, and they must give me life. For that reason I have just embarked on the grand, independent and vagabond life of the bohemian.
Gustave Courbet
On the left is the realist tradition of the 19th century, with its impulse to social description, radical criticism and meditation on things as they are.. ..culminating in Courbet at his mightiest [paintings] (The Studio, The Funeral at Ornans and a portrait of a trout that has more death in it than Rubens could get in a whole Crucifixion).
Gustave Courbet
In spite of being assailed by hypochondria, I have launched into an enormous painting 20 feet by 12, perhaps even bigger than Burial', which will show that I am still alive, and so is Realism, as Realism exists.. .It is society at its best, its worst, its average. In short, it's my way of seeing society with all its interests and passions. It's the whole world coming to me to be painted..
Gustave Courbet
There have always been two schools of thought in painting: that of the Idealists and that of the Realists.. .Monsieur Courbet belongs to the second school, but he differs from it in that he seems to have taken an ideal opposite to the usual ideal: whereas the straightforward Realists are happy to copy nature as they see it, our young painter, parodying for his own benefit the verses of Nicolas Boileau Despréaux, seems to be saying: 'Only the ugly is beautiful, only the ugly is likeable.' It is not enough for the people to be common; he selects his subjects and then deliberately exaggerates their crudeness and vulgarity.
Gustave Courbet
If Courbet could only paint what he saw, he saw wonderfully, he saw better than anybody else. His eye was a subtle and assured mirror, where the most fleeting sensations, the most delicate nuances became clear. With this exceptional ability to see, came an exceptional ability to render what he saw. Courbet used paint thickly, but without harshness and without roughness: his pictures are as smooth as ice, and shine like enamel. He achieves relief and movement at the same time by using just the right shade; and this shade, put on flat with a palette knife, acquires an extraordinary intensity. I have never seen any richer or more distinguished use of colour, nor one that gains so much with age.
Gustave Courbet
[After leaving the w:Exposition Universelle (1855) ].. .I went to the Courbet exposition. He has reduced the price of admission to ten sous. I stayed there alone for nearly one hour and discovered a masterpiece in the picture, they rejected [the jury of the official Salon exhibition in Paris]. I simply could not tear myself away from the sight of it.. ..In [Courbet's painting 'The Studio'] the planes are well understood. There is atmosphere, and in some passages the execution is really remarkable, especially the tights and hips of the nude model and the breasts.. .The only fault is that the picture, as he painted it, seems to contain an ambiguity. It looks as though there were a real sky in the middle of the painting. They [The Salon-jury] have rejected one of the most remarkable works of our time, but Courbet is not the man to be discouraged by a little thing like that.
Gustave Courbet
These great 'Waves' – the one in Berlin ['The Wave' (La Vague), 1869] is prodigious, one of the marvels of the century, far more swollen and palpitating than this one [the painting 'Stormy Sea', Cézanne saw in the Louvre]; a muddier green and a dirtier orange [in 'The Wave' of Berlin] – a tangle of flying spray, a tide drawn from depths of eternity, a ragged sky, the livid sharpness of the whole scene. It seems to hit you full in the chest, you stagger back, the whole room reeks of sea-spray.
Gustave Courbet
The task was to combine the two [ Paul Cézanne's dialectical method revealing the process of seeing - Courbet by his materialism]. Followed up separately, each would lead to a cul-de-sac: Courbet's materialism would become mechanical; the force of gravity, which gave such dignity to his subjects, would become oppressive and literal. Cézanne's dialectic would become more and more disembodied and its harmony would be obtained at the price of physical indifference. Today, both examples are followed up separately.
Gustave Courbet