Word: courbets
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...work as a constant affront to received taste. Painting the studio nude, Pearlstein declared allegiances very different from those common in the New York art world of the late '50s. In neither hedonism nor irony nor self-expression, he wanted to go back and start from Gustave Courbet, painting the naked body in a spirit of detached, colloquial reportage, as though all the proscriptions against figure painting had lost their magic. To suppose this was not a radical act, one would need to know very little about the pressures of ideology and convention in the New York art world...
...18th century the Popes began to lose their enthusiasm for live art, and the men who transformed painting in the 19th century-Delacroix, Courbet, Manet, Cezanne-excited not a flicker of interest in the Vatican. In the 20th century papal patronage guttered out, except for a few ornamental mediocrities like Giacomo Manzii's door for St. Peter's. Modern Popes disliked modern art because they associated it with liberalism. Eventually the problem vanished: John Paul II would learn to use television as his predecessors had used fresco...
...also produced, in the spirit of old-master quotation that ran through his silk-screened work in the early 1960s, a suite of variations on well-known paintings: Botticelli's Venus, that hardy standby of the Pop sensibility the Mona Lisa, and Gustave Courbet's rosy, meaty image of two lesbians-one of them Whistler's mistress-sprawled in amorous sleep. At times, as in All Abordello Doze 3, 1982, the degree of interference by overprinting, cutting and juxtaposition almost buries the motif in a landslide of variations, and yet Rauschenberg's close, laconic grasp...
...Courbet looked very hard and had a method," Welliver remarks to the writer Edwin Denby in the catalogue. "Bierstadt did not look very hard and had a method, and de Kooning makes it up as he goes along ... I look very hard, then make it up as I go along." The idea of "sub lime" American landscape is fairly worn currency by now; there are too many generalized cliches of in stant grandeur attached to it. What saves Welliver's sense of awe at large scale is his sense of fact...
...whole tradition of French landscape runs through Pissarro's work. He is a link between the weighty, materialist vision of Courbet and the molecular analyses of impressionism, and the best of his landscapes possess an unremitting gravity of construction. Everything in a painting like The "Côte du Jallais," Pontoise, 1867, is, so to speak, freighted with scruple, rendered dense by inspection-the blue air and clouds no less than the swatches of plowed and seeded field and the massed trees. Its low tones and construction by horizontal bands make one think of Corot, but its directness...