Gustave Courbet. Ulf Küster
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Название: Gustave Courbet

Автор: Ulf Küster

Издательство: Readbox publishing GmbH

Жанр: Контркультура

Серия: E-Books

isbn: 9783775738781

isbn:

СКАЧАТЬ Delacroix’s painting, however, she has already fallen into the water, both literally and figuratively. Delacroix’s Ophelia is somewhat more buxom compared to Courbet’s sleeping girl, and with her completely exposed upper body I always felt her to be much more erotic than the girl on the hammock. As is often the case with Delacroix, his work is a painted elaboration of a scene described in William Shakespeare’s tragedy Hamlet, though less ambiguous than Courbet’s cryptic and much more subtle painting.

      But one thing I will never understand is how Ophelia could drown in such a shallow stream; it reminds me of the critical remark Delacroix noted in his journal when Courbet’s ­Baigneuses (Bathers, Montpellier, Musée Fabre) was exhibited in 1853, stating that the water was a “little puddle scarcely deep enough for a footbath.”5 Courbet may have responded to Delacroix’s Ophelia motif, which exists in numerous versions, to the extent that he also painted a picture of a woman bathing in a stream in a very similar pose—who, however, is undressed and surely not about to take her own life (Mohamed Mahmoud Khalil Museum, Cairo). Courbet used this motif again in his painting Trois baigneuses (Three Bathers, 1865–68), rotating it by ninety degrees in the process and turning a woman reclining in the water into one who is slipping vertically into the pool. Quite an unusual procedure.6

      Gustave Courbet, Trois baigneuses (Three Bathers), 1865–68, oil on paper on canvas, 126 × 96 cm, Petit Palais, Musée des Beaux-Arts de la Ville de Paris

      Delacroix and Courbet surely observed each other quite closely. Their—more or less concealed—reactions are a leitmotif in this book, whose seven essays serve as an introduction to selected aspects of Gustave Courbet’s life and work. It is published on the occasion of the exhibition devoted to Courbet at the Fondation Beyeler. Courbet plays with the expectations of his viewers and the treatment of color; the hidden references to classic art-historical iconography and emphasis on his individuality as an artist make him a seminal figure in the transition from tradition to modernity. He is an artist whose work also fascinates those who are not concerned with art on a daily basis. And perhaps this little book will contribute to the desire to take a fresh look at Courbet and rediscover his immensely rich oeuvre and compelling life.

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