French painter Gustave Courbet (1819-1877) challenged Romanticism so actively that he became the leader of the Realist movement. His aim was not to embellish or idealize reality--but to reproduce it accurately. In this regard, Courbet had a profound impact on Modern Art. He succeeded in avoiding what he believed were the artistic clichés, contrived idealism, and timeworn models of art. The work featured here--”After Dinner at Ornans”--is a large-scale composition that cemented Courbet’s reputation. Exhibited at the 1849 Salon, “After Dinner at Ornans” is set around a table in Caravaggesque fashion. It is a masterpiece of genre painting--and it won Courbet a gold medal that insured him exhibition rights at the Salon, without having to submit to a jurying process.
"'Hopper Drawing' is the first major museum exhibition to focus on the drawings and creative process of Edward Hopper (1882–1967)."
\From May 23rd to October 6th, 2013--the drawings will be on view at the Whitney Museum in New York. You can also explore the studies (which are remarkable) online.
In 1863, the Salon des Refuses, or rather the “exhibition of rejects,” was the first presentation of works that were rejected by the jury of the official Paris Salon. Included in this landmark show was Édouard Manet’s famed painting, Le Dejeuner sur l’herbe, or Luncheon on the Grass. This painting shocked the French public due to the appearance of a female nude, casually seated with two fully-dressed men in a rural setting. The problem, however, wasn’t simply the nudity. If the setting had been historical or mythological, then this would have been fine. But the fact that the figures were contemporary was deemed unacceptable.
As early as the 1830s, Paris art galleries had mounted small-scale, private exhibitions of works rejected by the Salon jurors. The glamorous event of 1863 is the most significant, however, because it was actually sponsored by the French government.
This was a time when the art world was changing. The French Impressionists (inspired, in part, by Manet’s challenges to tradition) would soon emerge, as would the Post-Impressionists. It was the pre-dawn of Modernism.
“Those wordy white panels telling visitors what paintings or installations mean have long been a controversial feature of the Tate galleries – often criticized but always there.” Now...they’re being eliminated!