Re Courbet. Earlier this year I read Communal Luxury by Kristin Ross a study of the Paris Commune of 1871 with particular attention to the Artists Federation of which Courbet was elected president. He helped draft the Federation's manifesto:
The artists of Paris, in adhering to the principles of the Communal Republic, have formed a federation.
This uniting of all the artistic intellects has as its bases:
The free expansion of art, free from all governmental supervision and from all privileges.
Equality of rights among all the members of the federation.
The independence and dignity of every artist taken under the protection of all through the creation of a committee elected by the universal suffrage of artists.
Monuments, from the artistic point of view, museums and Paris establishments containing galleries, collections, and libraries of works of art not belonging to private individuals, are entrusted to the keeping and the administrative supervision of the committee. [Famously Courbet authorized the destruction of the Vendome Column, for which he paid dearly after the Commune was suppressed.]
It will erect them, preserve them, and adjust them, and it will complete plans, inventories, indexes and catalogues.
It will place these at the disposal of the public in order to encourage studies and satisfy the curiosity of visitors.
It will note the state of preservation of buildings, indicate urgent repairs, and present the Commune with a frequent account of its works.
After examination of their capacity and inquiry into their morality, it will appoint administrators, a secretary, archivists and wardens, in order to assure the service needs of these establishments and for exhibitions, which will be spoken of later.
Thanks for sharing that information Richard. I'll locate that Kristine Ross book. Lun*na has been reading a book on Courbet that is written by a Japanese art historian, and also a book by T.J. Clark, in English. Courbet is a very interesting figure. And I should know, because Lun*na tells me about him on a regular basis!
beautiful story Tosh, curious how does Lun*na react, to me criminal defacement of GCs work L’Origine du Monde, not a brilliant work but still to call it a feminist statement? this world is troubling as you say, we have socially accepted criminals to deal with and the avoidance of nature.
L’Origine du Monde is pretty impressive work, and one dares not to post it on one's Facebook page. So, it is still a powerful work. I'm not a fan of 'defacement' on original art in general. Duchamp did his number on a Mona Lisa commercial print, not on the original. And Lun*na is a huge fan. We have so many images of Courbet around her studio, it's amazing. Duchamp and Courbet are her favorite artists. And oddly enough, Duchamp's favorite painter was Courbet.
Nice story, Tosh. Gustov does watch over in his inscrutable bird-ways. You are his touchstone as much as he is yours. Such is nature. I love Courbet’s Wrestlers, a moving depiction of masculine struggle under scrutiny, as we all are now.
Re Courbet. Earlier this year I read Communal Luxury by Kristin Ross a study of the Paris Commune of 1871 with particular attention to the Artists Federation of which Courbet was elected president. He helped draft the Federation's manifesto:
The artists of Paris, in adhering to the principles of the Communal Republic, have formed a federation.
This uniting of all the artistic intellects has as its bases:
The free expansion of art, free from all governmental supervision and from all privileges.
Equality of rights among all the members of the federation.
The independence and dignity of every artist taken under the protection of all through the creation of a committee elected by the universal suffrage of artists.
Monuments, from the artistic point of view, museums and Paris establishments containing galleries, collections, and libraries of works of art not belonging to private individuals, are entrusted to the keeping and the administrative supervision of the committee. [Famously Courbet authorized the destruction of the Vendome Column, for which he paid dearly after the Commune was suppressed.]
It will erect them, preserve them, and adjust them, and it will complete plans, inventories, indexes and catalogues.
It will place these at the disposal of the public in order to encourage studies and satisfy the curiosity of visitors.
It will note the state of preservation of buildings, indicate urgent repairs, and present the Commune with a frequent account of its works.
After examination of their capacity and inquiry into their morality, it will appoint administrators, a secretary, archivists and wardens, in order to assure the service needs of these establishments and for exhibitions, which will be spoken of later.
Thanks for sharing that information Richard. I'll locate that Kristine Ross book. Lun*na has been reading a book on Courbet that is written by a Japanese art historian, and also a book by T.J. Clark, in English. Courbet is a very interesting figure. And I should know, because Lun*na tells me about him on a regular basis!
beautiful story Tosh, curious how does Lun*na react, to me criminal defacement of GCs work L’Origine du Monde, not a brilliant work but still to call it a feminist statement? this world is troubling as you say, we have socially accepted criminals to deal with and the avoidance of nature.
L’Origine du Monde is pretty impressive work, and one dares not to post it on one's Facebook page. So, it is still a powerful work. I'm not a fan of 'defacement' on original art in general. Duchamp did his number on a Mona Lisa commercial print, not on the original. And Lun*na is a huge fan. We have so many images of Courbet around her studio, it's amazing. Duchamp and Courbet are her favorite artists. And oddly enough, Duchamp's favorite painter was Courbet.
Gustov is indeed watching (over) you like a hawk. Wonderful, fluid, even, soaring writing that shifts effortlessly to the deprived predators of Gaza.
Thank you for your commentary, and being aware of what I wrote on Gaza.
Nice story, Tosh. Gustov does watch over in his inscrutable bird-ways. You are his touchstone as much as he is yours. Such is nature. I love Courbet’s Wrestlers, a moving depiction of masculine struggle under scrutiny, as we all are now.
Ain't that the truth! Thank you.