Gustave was the oldest of four kids of Elonor-Rgis Courbet, a wealthy farmer and landowner, and Sylvie Courbet. In age 14, Courbet started taking lessons in painting having an area artist called “pre” Baud. In 1837, Courbet relocated to Besanon, where he continued to understand artwork. In this early period of his artistic career, Courbet painted numerous self portraits, including “The Desperate Guy” (1841) and “Self-Portrait with a Black Dog” (1842). The latter was accepted to the Salon of 1844, a prestigious, state-sponsored yearly exhibition held in Paris.
Being given a second class gold medal the next year meant he was no longer required to submit his paintings into a jury in order to allow them to be presented in the Salon (this particular standing survived until a rule change in 1857). As Courbet created himself in his profession, he also courted controversy through his work. In the Parisian art world of the mid-1800s, the paintings that got the most esteem and praise were big pictures of subjects from history, mythology or the Bible. Courbet worked on big canvases, however he made a decision to depict events in the day-to-day world of the French countryside, including “The Stone-Breakers,” a picture of two anonymous manual laborers (1849).
Courbet’s “A Burial at Ornans” (1849 50) depicted a funeral in his rural hometown; it perplexed and worried audiences in the Salon of 1851 due to its depiction of everyday country people on a massive scale. As France along with other European nations had lately been racked by workers’ revolts throughout the upheavals of 1848, Courbet’s art was also perceived as having a powerful political message.
In 1854 55, Courbet painted a big autobiographical work entitled “The Painter’s Studio: A Real Allegory Summing Up a Seven-Year Period of My Artistic Life.” This almost 20-foot canvas reveals Courbet working at his easel while encircled by people actual and representational who’d affected his life and profession (the amounts contain Courbet’s buddies Charles Baudelaire and Pierre-Joseph Proudhon).
Courbet additionally continued to arouse his crowds by pushing the bounds of propriety in his artwork. “The Woman with a Parrot” (1866), a female nude, got the same reaction. During the 1860s, which were productive years for Courbet, he also painted less contentious hunting pictures, still lifes and landscapes. Generally, his artwork was encountered with steady sales and continued acclaim.
Courbet was a lifelong republican whose naturalistic type of painting and selection of areas from everyday life corresponded with his political beliefs. After Napoleon III’s rule fell in 1870, Courbet supported the republican Paris Commune. However, if the Commune came to a conclusion in 1871, Courbet was soon arrested for being associated with the destruction of the Vendme Column, a sign of the Napoleonic regime. Courbet accepted the first punishment meted out to him for the column’s destruction: six months in prison as well as a little fine. In 1873, being held accountable for the expenses of reinstalling the column prompted him to move to Switzerland. While living in exile, Courbet had little cash and started drinking heavily, though he managed to make some landscapes and portraits. On December 31, 1877, Courbet died in age 58 in La Tour-de-Peilz, Switzerland.