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2. The inescapable end of an ordinary inhabitant of the village is represented with sober
realism.
3. The simplicity of this relief-like composition is deeply classical.
a. The Stone Breakers
b. The Studio: A Real Allegory Concerning Seven Years of My Artistic Life
c. A Burial at Ornans
V. Translate the text into English.
Становление критического реализма связано с именем Гюстава Курбе. Он приехал в
Париж в 1840, чтобы "завоевать его". В 1842 г. художник дебютировал в Салоне. Курбе
обращался к темам труда и нищеты. В картине "Каменотесы" выражено сочувствие к доле
смирившихся со своей судьбой людей.
Во время революции 1848 г. Курбе подружился с некоторыми будущими участниками
Парижской Коммуны. После разгрома революции Курбе уехал в родные места, в Орнан, где
создал прекрасные живописные произведения.
Самая крупная работа Курбе - "Похороны в Орнане" Это монументальное произведение
на современный сюжет. Курбе передал типичное через индивидуальное. Картина "Похороны
в Орнане" считается одним из лучших произведений классического европейского искусства.
В 1855 г., когда Курбе не был принят на Всемирную выставку, он открыл свою
экспозицию в деревянном бараке, названном "Павильоном Реализма" и предпослал ей
каталог, в котором изложил свои принципы реализма. Декларация Курбе вошла в искусство
как программа реализма. В этом же году Курбе создал программное произведение "Ателье",
посвященное проблеме места художника в обществе.
Курбе принимал активное участие в Парижской Коммуне. Последние годы художник
жил в изгнании, в Швейцарии.
VI. Summarize the text.
VII. Topics for discussion.
1. Realism in art.
2. Courbet's mode of life and work.
3. Courbet's revolutionary art.
UNIT X MANET (1823 -1883)
Edouard Manet came from a well-to-do Parisian family. The young Manet was trained for a
naval career, but then permitted to enter the studio of the conservative painter Thomas Couture,
where he received thorough training. Trips to Italy, the Netherlands, Germany and Austria in the
1850s brought him into contact with the work of the Old Masters, through careful coping. He was
particularly impressed by the optical art and brilliant brushwork of Velazquez, whose work he saw
during a brief visit to Spain in 1865. He also admired Goya and Courbet.
In 1863 Manet exhibited at the Salon des Refuses a canvas entitled Luncheon on the Grass
which created an uproar. The grouping of a nude female figure and two fully clothed men in a
public park shocked the Parisians as flagrant immorality. In actuality Manet had wittily adapted the
composition and the poses from a sixteenth century engraving after a design by Raphael. Manet
simply modernised the clothing, surroundings and accessories. Courbet found the painting formless
and flat. This flatness was just what Manet was striving for. Illumination seems to come from the
direction of the observer, and eliminates mass. By this painting Manet pointed out his belief that the
important thing about a picture is not what it represents but how it is painted. The erasure of form
allows him to concentrate on the luminosity of the green grass and foliage, the sparkling remains of
the picnic, and the glowing flesh of the nude. By posing an insoluble enigma of subject, he has
transformed a group of figures into a still life.
Manet soon went even further; in 1867 he painted a subject from contemporary history, the
Execution of the Emperor Maximilian of Mexico, which records an event that had deeply shocked
the French public and for which Napoleon III and his government, who had installed Maximilian,
were blamed. Manet treated the incident in a totally unexpected way, almost as a reaction against