Courbet and the Modern Landscape

Overview


With its fittingly dramatic design, Courbet and the Modern Landscape accompanies the first major museum exhibition specifically to address Gustave Courbet's extraordinary achievement in landscape painting. Many of these carefully selected works produced from 1855 to 1876--gathered from Asia, Europe, and North America--will be new to readers.
The catalogue--which accompanies an exhibition at the Getty Museum to be held from February 21 to May 14, 2006--highlights the artist's ...
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Overview


With its fittingly dramatic design, Courbet and the Modern Landscape accompanies the first major museum exhibition specifically to address Gustave Courbet's extraordinary achievement in landscape painting. Many of these carefully selected works produced from 1855 to 1876--gathered from Asia, Europe, and North America--will be new to readers.
The catalogue--which accompanies an exhibition at the Getty Museum to be held from February 21 to May 14, 2006--highlights the artist's expressive responses to the natural environment. Essays by the curators examine Courbet's distinctly modern practice of landscape painting. Mary Morton's essay situates his landscapes in relation to his work in other genres, his critical reputation, and his role in establishing a new pictorial language for landscape painting. Charlotte Eyerman's essay investigates how later generations of nineteenth- and twentieth-century artists responded to Courbet's example. The catalogue also includes an essay by Dominique de Font-Réaulx, curator of photographs at the Musée d'Orsay, on the relationship between Courbet's work and landscape photography of the 1850s and 1860s.
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Editorial Reviews

Library Journal
The Getty Museum has mounted the first large-scale show (on view through May 14) devoted to Gustave Courbet's (1819-77) landscape painting and its impact on the artists of his time. Long admired for his figurative works, Courbet employed innovative techniques to mirror the natural world. Morton and Eyerman, both curators at the Getty, have grouped these works by topographical divisions: cliffs and valleys, forests and steams, rocks and grottoes, the sea, snow, and the Swiss landscape of his later years. The artist's newfound freedom at having discarded the perfection and rigidity of academic painting is elegantly detailed in descriptions of his rapid techniques, roughly shaped images, and successive layers of paint, a technique all his own that resulted in images of immediacy and impact. Although much of Courbet's work symbolizes the techniques of the time, the influence of early Dutch painting, particularly in the seascapes, may be detected. A fine example of scholarly insight and visual acuity, this catalog succeeds in presenting Courbet in a new light and as such would make a welcome addition to the literature.-Paula Frosch, Metropolitan Museum of Art Lib., New York Copyright 2006 Reed Business Information.
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Product Details

Meet the Author

Mary Morton is associate curator, and Charlotte Eyerman is assistant curator in the Department of Paintings at the Getty Museum.

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Table of Contents

To create a living art : rethinking Courbet's landscape painting 1
Courbet's legacy in the twentieth century 21
Reproducing reality : landscape photography of the 1850s and 1860s in relation to the paintings of Gustave Courbet 39
Plates
Cliffs and valleys 55
Forests and streams 67
Rocks and grottoes 81
Snowscapes 91
Seascapes 103
Switzerland 111
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