GUSTAVE COURBET (FRENCH, 1819-1877)
GUSTAVE COURBET (FRENCH, 1819-1877)
GUSTAVE COURBET (FRENCH, 1819-1877)
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GUSTAVE COURBET (FRENCH, 1819-1877)
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PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION
GUSTAVE COURBET (FRENCH, 1819-1877)

Le poète ou Le sculpteur

细节
GUSTAVE COURBET (FRENCH, 1819-1877)
Le poète ou Le sculpteur
signed and dated 'G. Courbet./1845' (lower left)
oil on canvas
22 1⁄8 x 16 ½ in. (55.9 x 41.9 cm.)
来源
Sold by the artist in 1845 to a Dutch dealer, probably H.J. van Wisselingh. Coll. V.; Hôtel Drouot, Paris, 12 June 1902, lot 10, for 320 francs. with Galerie Hessel, Paris. with Galerie Durand-Ruel, Paris (inv. 10913), acquired from the above on 24 October 1916. with Galerie Georges Bernheim, Paris, acquired from the above on 16 October 1923. Dr Hans Graber (1886-1959), Zurich, by 1935. with Walter Hugelshofer (1899-1987), Zurich. with Gallery Knoedler, New York, (inv. A 6415), acquired from the above on 19 July 1956, half-share with Pinakos Inc. (Dr Rudolf Heinemann) until 28 November 1968, when acquired in full by Lore (1914-1996) and Rudolf Heinemann (1901-1975); their sale, Christie's, New York, 22 May 1997, lot 230. Purchased at the above sale by the present owner.
出版
C. Leger, Courbet, Paris, 1929, pp. 33-34.
C. Leger, Courbet et son temps, Paris, 1948, pp. 26-27.
A. Fermingera, Courbet, Geneva, 1971, p. 17.
T.J. Clark, Image of the People: Gustave Courbet and the 1848 Revolution, London, 1973, pp. 39-41, 44, fig. 9, illustrated.
M.T. de Forges, Autoportraits de Courbet, Paris, 1973, pp. 28 and 30, illustrated.
R. Fernier, La Vie et l'Oeuvre de Gustave Courbet, I, Lausanne and Paris, 1977, pp. 36-7, no. 58, illustrated.
A. Callen, Courbet, London, 1980, p. 43, illustrated.
S. Faunce and L. Nochlin, Courbet Reconsidered, exh cat., Brooklyn, 1988, pp. 91-92.
M. Fried, Courbet's Realism, Chicago, 1990, pp. 53-64, 67, illustrated.
P. Ten-Doesschate Chu, Letters of Gustave Courbet, Chicago, 1992, p. 56.
S. Faunce, Gustave Courbet, New York, 1993, pp. 11-12, illustrated.
H. Herding, 'Courbet, (Jean-Désiré-) Gustave', in Dictionary of Art, London, 1996, p. 51.
J. Zutter and P. Ten-Doesschate Chu, Courbet, Artiste et Promoteur de son Oeuvre, Paris, 1998, p. 54, fig. 52, illustrated.
展览
Zurich, Kunsthaus, Gustave Courbet, 15 December 1935- 31 March 1936, no. 12, as 'Le Poète'.
Montclair, Montclair Art Museum, Master Painters, 2 October- 27 October 1957, no. 14.
London, Marlborough Gallery, 19th & 20th Century European Masters, Summer 1958, no. 8, fig. 24.
Philadelphia, Philadelphia Museum of Art; Gustave Courbet, 1819 - 1877, 17 December 1959-14 February 1960; this exhibition later travelled to Boston, Museum of Fine Arts, 26 February-14 April 1960, no. 6.
New York, Finch College Museum of Art, 19th & 20th Century French Masters, 1 May- 9 June 1962, no. 8.
Bern, Kunstmuseum Bern, Gustave Courbet, 22 September- 18 November 1962, no. 3.
New York, The Trinity School, Nineteenth Century Romantic Painting, 8 February-4 March 1965, no. 8.
Paris, Grand Palais, Gustave Courbet, 30 September- 2 January 1978; this exhibition later travelled to London, The Royal Academy, 18 January- 19 March 1978, no 9.
Paris, Grand Palais, Gustave Courbet, 13 October 2007- 28 January 2008, this exhibition later travelled New York, The Metropolitan Museum of Art, 27 February- 18 May 2008, no. 2.

荣誉呈献

Maja Markovic
Maja Markovic Director, Head of Evening Sale

拍品专文

The decade between 1840 and 1850 was a transitional period for many young French painters. Courbet, like Jean François Millet, worked in a romantic spirit in the 1840s. Both artists broke with this tradition around 1850 when they each developed their own unique style, styles that would characterize the rest of their careers. Nevertheless, the decade of the 1840s was an interesting time to be a young artist in Paris, and for Courbet, it was a time spent in search of self-expression. Courbet's output from this time included twelve self-portraits executed between 1840 and 1848. They form a series in which Courbet assumed various disguises and dramatic postures. He cast himself in such guises as the dashing companion to a young woman, as a wounded man resting by a tree, as a Mephistophelian gnome playing a game of draughts and as a sculptor dressed in medieval costume.

Painted in 1845, The Sculptor, also called The Poet, was the pendant to Courbet's 1845 Salon entry, Le Guitarrero (fig.1), a painting also once believed to be a self-portrait, but now recognized as a portrait of Courbet's boyhood friend, the violinist, Alphonse Promayat. The two paintings may have been conceived by Courbet as a sort of diptych symbolizing the friendship of the two young men from Franche-Comte. Both sitters are depicted in picturesque and fantastic costumes, very much in the spirit of the Troubador style, which was so popular at the time. They are each set in a rocky terrain which is reminiscent of the landscape of Courbet's native Ornans. Hélène Toussaint (Gustave Courbet, exh. cat., 1977, no. 9) notes that in The Sculptor Courbet painted himself with the emblems of a Masonic apprentice: he is shown sculpting the 'living rock' with a mallet in his right hand and a chisel in his left. Carved in the rock next to him is a woman's head leaning against an amphora from which water is pouring. The connection between water and women is also part of Masonic symbolism. It is not known whether Courbet was in fact a Mason: this was an era in which romantic minds were attracted by secret societies and Courbet may very well have known of the symbolism.

Courbet most likely sold The Sculptor to a Dutch dealer named H.J. Wisselingh, whose portrait he painted in 1846. He wrote the following in a letter to his family dated summer 1845: "Lately I had a visit from a Dutch dealer from Amsterdam who liked my work a lot. He had been making the rounds of the Paris ateliers and he told me that he had not seen anything as much to his liking as what I made. He claims that he will make a name for me in Holland. In the meantime, he has taken two paintings of mine: a small study as big as a hand for which he paid me twenty francs, and another small painting, a pendant of the one I had at the exhibition, for which he paid me four hundred francs." (P. ten-Doesschate Chu, 1992, p. 56).

The present work is accompanied by a certificate from the Institut Gustave Courbet dated 12 October 2024, and will be included in their forthcoming Gustave Courbet catalogue raisonné.

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