The mainstream of painting is always changing, take our Chinese pop songs, basically 10 years to change a style, the 80s, 90s and 21st centuries, even if you don't engage in music, you can hear the difference.
In fact, it is very easy to understand, because a style is easy to vomit after watching for too long and listening to it for too long. So people want to think of new ways out.
Before Gustave Courbet, the subject matter of the painter was a change from Jesus - Greek mythology - court nobility, and the "beautification function" was added, and the wrinkles and fat figures of the palace nobles were removed.
But very few people have ever painted poor people and animals. Because you paint those things, people don't give you money.
So Courbet's famous quote was, "I don't paint angels because I've never seen them." ", he's going to paint real things.
One of Courbet's painting styles is nature and animals. This painting is actually 5 meters long and 3 meters high, so this buck is basically restored to its actual size.
The painting was originally in the collection of the Besançon Museum in France, but when I visited the Musée d'Orsay in the middle of this year, I had the privilege of seeing them rent the painting for exhibition, so I saw the original.
《The kill of deer》
1867
Courbet is good at the second style of painting: social characters.
This masterpiece of his, "The Studio", is also huge, it is also 3 meters high, 6 meters long, and the size of a live-action person is 1 to 1. In the middle is Courbet himself + beautiful model, on the left hand is a variety of historical figures gathered together, and on the right is his friends at that time, famous people in 19th-century France.
《The Artist's Studio》
1855
Courbet excels in the third style of painting: painting of rural landscapes.
《Farmers of Flagey on the Return From the Market》
1850
Courbet is good at painting in the fourth style: love painting.
It is men who are all love paintings. Courbet has an extra sense of realism compared to his predecessors. The predecessors painted women without clothes, and they had to pretend that "I was actually painting Athena" as a pretext, and then add a cupid next to it, add a child, it seems less erotic. But Courbet's time has come to the 19th century after the French Revolution, there is no imperial power, politics is chaotic, naturally no one to supervise so much.
It looks like an ordinary girl, wearing socks. Isn't it very similar to the current Japanese uniform stream photography? It's just that people are painting, and now they are shooting, which is far inferior to the predecessors.
It's a great thing for a person to be good at 4 styles, just as a player can play 4 positions.
What's even more interesting is that Courbet's paintings also hide careful thoughts.
Courbet's painting called The Wounded Man.
L'Homme blessé (Wounded Man)
1844-1854
A handsome man is depicted leaning against a tree, as if he were closing his eyes and taking a nap. But the sheen of the sword on his side reminds people that things don't seem to be that simple. The conspicuous red on his white shirt seemed to be fainted by the wound in his chest that gradually penetrated the back of his shirt. His left hand tugged at the half-detached coat, and the blood vessels on the back of his hand were clearly visible. As if to hint at what had just happened: a knight who had just lost a duel, took advantage of the twilight to heal his wounds alone in no man's land, and in the process of undressing and examining the injuries, he fainted due to lack of physical strength, and may never wake up again. The whole scene is very cinematic.
The fireworks head full of air and the logical beard movement can easily be found that the injured man in the painting is Courbet himself. In the picture, Courbet's expression looks serene at first glance, but it is mixed with melancholy when looking closely, and the raised corners of the mouth cannot hide the pain and sorrow, with the wound on the chest and the sword next to him, people can't help but wonder, who stabbed Courbet? Is it because you can't bear the handsomeness of this age and kill yourself? Or was it a bloody storm set off by people who thought they were capable? For this question, judging from the limited clues in the picture, it seems that it is difficult to get an answer.
In order to diagnose this problem, technology has once again helped, let's look at the area of Courbet's psychological shadow under X-rays.
X-rays were taken in 1973 (X-ray fluorescence spectroscopy was performed), and traces of modifications were found under this painting, and they were carried out at different times. Originally, he was supposed to have painted a side-faced portrait of a woman named Virginie Binet, who was Courbet's female counterpart at the time. You should think that this girl is so beautiful, draw a portrait.
Later modification traces show that Courbet changed the portrait of his girlfriend's side face to the scene where he and his girlfriend hugged each other and rested against a small tree, which was simply not more romantic, so happy.
And now we finally see the famous painting "Wounded Man", the difference is that the girlfriend lying on the chest disappears, leaving a fatal wound in the position of the girlfriend. It turned out that Courbet had lost the battle of love, and the blood oozing was not a sword wound but a heartbreak. They had been together for twelve full years, and the wound was indeed enough to kill them.
Attaching a picture of a time of love, doesn't it say that you want to be each other's angels?
Courbet not only played a careful role in his paintings, but also enjoyed painting self-portraits.
The following are all self-portraits of him.
Look for Dandruff Courbet.
Courbet under the searchlight.
Courbet of the Hairdresser.
So many people in my studio I just don't paint them I paint landscapes, good drag Courbet.
Courbet, who makes the six houses pink and colorless.
Blessed is The blessed Courbet, who is still graceful and noble.
Pipes go where Courbet goes.
Courbet in the spotlight.
Courbet of the Beautiful Boy.
Courbet was the idol of many Impressionist maniacs and the vanguard of the realist school of painting, a painter who did not learn from classicism flattery, did not learn romantic pride, buried his eyes in the air and dust, and honestly looked at the world.
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