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List of illustrations

  • The Brasserie Andler
  • Marc Trapadoux, Jean Wallon, and Gustave Courbet in the Brasserie Andler
  • Design for the frontispiece of Le Salut Public
  • Frontispiece of Le Salut Public
  • Self-Portrait with Black Spaniel in an Interior
  • Portrait of Rembrandt (1606–1669) with a Gorget
  • Self-Portrait with Black Spaniel in a Landscape
  • Self-Portrait, detail of a sketchbook page
  • Portrait of Alexander von Humboldt
  • Checkers Players
  • The Cellist (Self-Portrait)
  • Marriage at Cana, detail
  • The Man with the Leather Belt. Portrait of the artist
  • Portrait of a Young Man with a Glove
  • Despair (Self-Portrait)
  • Man Hovering on the Edge of an Abyss (Self-Portrait)
  • Lovers in the Country: Youthful Sentiments, or, The Waltz
  • The Bal Mabille
  • Country Siesta
  • The Wounded Man
  • Self-Portrait with Pipe
  • Self-Portrait with Pipe
  • The Artist Seated at His Easel
  • Artist at His Easel
  • Two Caricatures of Courbet
  • Self-Portrait with Striped Collar
  • Courbet
  • Gustave Courbet
  • M. Courbet in His Studio
  • The Artist Drawing His Caricatures on the Wall of the Panthéon
  • Portrait of Hector Berlioz
  • Portrait of Marc Trapadoux Examining an Album of Prints
  • Portrait of Antoine Vivenel
  • Atelier Corner
  • New Perspectives Opened up by the Talent of M. Courbet
  • Portrait of Charles Baudelaire
  • Portrait of Abraham Francen, Apothecary
  • Portrait of Jean Journet
  • The Nineteenth-Century Sectarian
  • Louis Gueymard (1822–1880) as Robert le Diable
  • Trio of Robert le Diable
  • Caricature of Courbet's Portrait of Louis Gueymard
  • David Garrick in the Character of Richard III
  • Portrait of Pierre-Joseph Proudhon and His Children, 1853
  • Initial version of Portrait of Pierre-Joseph Proudhon in 1853
  • Portrait of Champfleury
  • Drawing for the frontispiece of Champfleury's Les amis de la nature
  • Portrait of Champfleury
  • Caricature of Portrait of Champfleury
  • Portrait of Pierre-Joseph Proudhon
  • The People
  • Proudhon on His Deathbed
  • Proudhon on His Deathbed
  • The Painter's Studio
  • Highroad of Posterity
  • Panthéon pediment, Aux Grands Hommes—La Patrie Reconnaissante
  • The Old Clothes Salesman
  • Emancipated People
  • After Dinner at Ornans
  • Toast to the Vintage of 1834
  • Virgil, Horace, and Varius at the Home of Maecenas
  • A Burial at Ornans
  • Panthéon Nadar
  • Move of the Constituent Assembly
  • The Burial of Ornans, by Courbet, Master Painter
  • Young Ladies of the Village (Les Demoiselles de village)
  • Fashion plate from Le Magasin des Demoiselles, September 1852
  • Caricature of The Young Ladies of the Village
  • The Three Graces in Crinolines
  • The Bathers
  • Vénus Anadyomene
  • Nymphs on the Banks of the Marne
  • Holy Family, known as the Doni Tondo
  • Simple Love
  • Academic Study of a Male Nude
  • The Grain Sifters
  • The Stonebreakers (Les Casseurs de pierres)
  • Caricature of The Grain Sifters
  • The Stonebreakers, Remarkable Canvas...of Pants
  • The Meeting: Bonjour M. Courbet
  • The Painter's Studio
  • At the End of His Universal Exposition, Courbet Bestows upon Himself some Well-Earned Awards
  • The Opening Ceremony of the Universal Exposition
  • Napoleonic Freighter
  • The Cemetery of Solferino
  • The Return from the Conference
  • The Missionaries
  • Showroom for Paintings at Messrs. Goupil
  • Young Women on the Banks of the Seine
  • The Spinner
  • Caricature of The Spinner
  • Caricature of The Spinner
  • Caricature of The Spinner
  • The Terrible Savoyard Woman
  • Two Women Sleeping in a Bed, detail of sketchbook page
  • Caricature of The Bathers
  • Caricature of The Bathers
  • In the Salon of a Brothel
  • Venus and Psyche
  • Venus and Psyche, reduced replica
  • Satirical Portrait of Napoleon III
  • Woman Kneading Dough
  • The Awakening
  • Woman with a Parrot
  • Portrait of the Princess Karoly
  • Flowers in a Basket
  • Sleeping Girl
  • Caricature of Sleeping Nude
  • The Trellis
  • A Brook in the Clearing
  • The Roche-Pourrie: Geological Study
  • The Gour de Conche
  • G. Courbet
  • The Fort de Joux
  • Lock in the Loue River
  • Entrance of the Puits Noir Valley, Doubs, Evening Effect
  • Caves of Oselle: The Organ
  • The Source of the Lison River
  • The Source of the Lison River
  • Bayard Rock, Dinant
  • Bayard Rock
  • Bayard Rock, Dinant
  • The Géant de Saillon
  • The Géant de Saillon, near Saillon, Valais (Switzerland)
  • Chillon Castle
  • Low Tide (Trouville)
  • The Wave
  • The Wave, by Courbet
  • Hind at Bay in the Snow (Jura)
  • Deer Stalking in the Highlands: The Last Scene
  • Spring Rut (Battle of Stags)
  • The Riderless Horse
  • A Painting by M. Courbet: Horseman Spurring on His Horse to the Ophthalmologist, so That He Can Put His Eye in the Right Place
  • Fox Hunting: Fores's Hunting Casualties - A Rare sort for the Downs
  • Mort of the Stag
  • M. Courbet Accepting the Legion of Honor on the Condition That Henceforth It Carries His Effigy
  • Let's Take Down Courbet!
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Description: The Most Arrogant Man in France: Gustave Courbet and the Nineteenth-Century Media...
~Some books are written more easily than others, and this one certainly has been slow in the making. The idea for it dates back some fifteen years, but life as well as other projects have come in its way. In addition, Courbet proved curiously resistant to interpretation. Perhaps I should not have been surprised. “Devinera qui pourra” was...
PublisherPrinceton University Press
Description: The Most Arrogant Man in France: Gustave Courbet and the Nineteenth-Century Media...
In Les Règles de l’art, published in 1992, French sociologist Pierre Bourdieu defines the artistic “field” of mid-nineteenth-century France as one in the process of formation...
PublisherPrinceton University Press
Related print edition pages: pp.1-4
https://doi.org/10.37862/aaeportal.00284.1

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Description: The Most Arrogant Man in France: Gustave Courbet and the Nineteenth-Century Media...
Some months after Gustave Courbet’s death on New Year’s Eve, 1877, an inventory was made of the contents of his home in the Swiss hamlet of La Tour-de-Peilz. Among the artist’s belongings was a closet filled...
PublisherPrinceton University Press
Related print edition pages: pp.5-16
https://doi.org/10.37862/aaeportal.00284.2

Access to this content is only available to subscribers. If you are at an institution that currently subscribes to the A&AePortal, please login to your VPN before accessing the site. If you have already purchased an individual subscription, please sign in to your account to access the content. Learn more about subscriptions.

Description: The Most Arrogant Man in France: Gustave Courbet and the Nineteenth-Century Media...
When Courbet booked his first modest success as an artist, the admission of a small self-portrait to the Salon of 1844, his life was nearly half over. About to turn twenty-five, he had only thirty-three more years to live, the last three of which, awash in alcohol, were devoid of any significant artistic production. But between 1844 and 1874, Courbet managed to emerge from total obscurity to...
PublisherPrinceton University Press
Related print edition pages: pp.17-44
https://doi.org/10.37862/aaeportal.00284.3

Access to this content is only available to subscribers. If you are at an institution that currently subscribes to the A&AePortal, please login to your VPN before accessing the site. If you have already purchased an individual subscription, please sign in to your account to access the content. Learn more about subscriptions.

Description: The Most Arrogant Man in France: Gustave Courbet and the Nineteenth-Century Media...
In the last two of Courbet’s autobiographical series of self-portraits, painted between 1842 and 1855, the artist portrayed himself not alone, but in the company of others: a patron, in The Meeting (La Rencontre; see fig. 80), and a...
PublisherPrinceton University Press
Related print edition pages: pp.45-74
https://doi.org/10.37862/aaeportal.00284.4

Access to this content is only available to subscribers. If you are at an institution that currently subscribes to the A&AePortal, please login to your VPN before accessing the site. If you have already purchased an individual subscription, please sign in to your account to access the content. Learn more about subscriptions.

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Description: The Most Arrogant Man in France: Gustave Courbet and the Nineteenth-Century Media...
In a review of Jules Michelet’s Les Femmes de la révolution of 1854, the weathered journalist Jules Barbey d’Aurevilly remarked:
PublisherPrinceton University Press
Related print edition pages: pp.114-137
https://doi.org/10.37862/aaeportal.00284.6

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Description: The Most Arrogant Man in France: Gustave Courbet and the Nineteenth-Century Media...
In their physical makeup, nineteenth-century newspapers were smaller than papers today, both in size and number of pages. Most of the major dailies of the period—La Presse, Le Siècle, or the Journal des Débats—consisted of no more than one full sheet of paper folded double, making four pages. As the fourth page was...
PublisherPrinceton University Press
Related print edition pages: pp.138-169
https://doi.org/10.37862/aaeportal.00284.7

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Description: The Most Arrogant Man in France: Gustave Courbet and the Nineteenth-Century Media...
By the late 1860s, Courbet was on top of the art world. In 1867, he mounted his second one-man exhibition to coincide with the Paris International Exposition of that year...
PublisherPrinceton University Press
Related print edition pages: pp.170-174

Access to this content is only available to subscribers. If you are at an institution that currently subscribes to the A&AePortal, please login to your VPN before accessing the site. If you have already purchased an individual subscription, please sign in to your account to access the content. Learn more about subscriptions.

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Description: The Most Arrogant Man in France: Gustave Courbet and the Nineteenth-Century Media...
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PublisherPrinceton University Press
The Most Arrogant Man in France: Gustave Courbet and the Nineteenth-Century Media Culture
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