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attending the service are portrayed as indifferent to the presence of religion within the service, which may be interpreted as
Courbet separating the two. Contemporary critics such as Proudhon also noticed this. He saw spirituality as being important in the death of a human, and he took the impious atmosphere of the scene to be a commentary on France losing its faith. Others, such as HĂ©lĂšne Toussaint, would later argue that the crucifix itself is a representation of hope that, after the
252:, and though this painting may depict the rural bourgeoisie, it does not, according to Clark, take a stance on them. Clark instead claims that the painting simply represents rural French life, its structure, and permanence. Clark relates this message to the personal position of Courbet, whose family was not fully bourgeois, but was wealthy enough to own two homes. Rather than see the painting in terms of left and right politics, Clark interprets it as being about the subject of class.
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McCarthy claims that the figures stood as a representation of "old-fashioned intransigence, a lack of contact with the latest revolutionary ideals, and a sense of frustration mingled with a certain bitterness." Additionally, Courbet may have represented them in this way due to his belief in non-violence. He described himself as a pacifist both early in life and later in his autobiography. He also expressed his disdain for violence after witnessing some of the horrors of the
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emotionally move viewers. This interpretation sees the skull as an expression of
Courbet's discontent with both traditional and revolutionary values. The skull is placed on the side of the grave closer to the veterans, which has sometimes been seen as a comment on revolutionaries. In traditional paintings of crucifixions, the side that the skull is placed on symbolizes those who "thrive on death," making the skull a potential comment on the violence of revolution.
189:(1830), depicting individuals in a semicircle around a scene of death. While these all likely had an impact on the creation of the painting, Courbet scholar Gerstle Mack claims that the original inspiration for the painting most likely came from the funeral of Oudot, Courbet's grandfather, who had died a year before he created the painting. According to another theory, the painting is based on a funeral for a member of the Proudhon family; Courbet was close with
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340:. Some viewers may have seen this fact as a rightful criticism of contemporary funeral rituals. In 1849, there was a cholera outbreak, during which the funeral industry was faulted for price gouging. Additionally, questions had grown about the presence of the church and its efficacy. Some commentators also saw the painting as a scandalous celebration of France's declining religious faith.
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ordinary, rural people to the
Parisian public at the Salon. The provocative presentation of an ordinary subject in a large format has led many commentators to see the work as a political statement. This interpretation was especially common among Courbet's contemporaries who praised it for its realism, as well as for the democratic and socialist ideals it represented.
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Each figure also appears to receive relatively equal emphasis, making the composition of the painting anti-hierarchical. Additionally, the linear nature of the painting suggests a lateral movement, which is reinforced by the final painting and the original sketch having unusual proportions, being much wider than tall.
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mode of composition that focuses on the juxtaposition of figures. Others push back on this notion, claiming that the proximity of the figures along with their similar colors of costume unify them as though they are physically merged, not allowing the viewers attention to rest on one person at a time.
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centered on its monumental size. Its large scale had previously been reserved for history paintings, which academic doctrine held to be the highest genre. By depicting rural life at such a grand scale, Courbet scandalized audiences. In addition to the size, critics were displeased by the ugliness of
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and traditional social values among the rural French population. At the same time, the inattentiveness of the church figures may serve as a witty commentary on the emptiness of the ritual they perform. Clark observes that there are all the elements of the burial ritual without their unison. Those
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At the bottom center of the painting, there is an open grave with a skull and bones along its edge. Behind the grave stands a group of attendees, arranged loosely in three groups: church members, veterans with a dog, and other officials and mourners. The members of the church include a priest, a
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By 1848, Courbet showed an interest in representing common people in a realistic manner. He expressed in letters his belief that his art was democratic. By depicting the townspeople of Ornans at a grand scale that was previously reserved for history paintings, Courbet declared the importance of
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held by the cross bearer looms above the figures in the painting. Courbet described the two figures standing with the white dog as "two old veterans of the
Revolution of '93" who wear "the clothes of their time." The two figures have since been identified as Secrétan and Cardet, both friends of
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are represented in the painting in a light that was common at the time. They are worn down and old, standing proudly next to the grave, skull, and bones. Historian James C. McCarthy argues that their appearance likely represents both the contempt and compassion that
Courbet felt towards them.
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The skull and bones sit at the bottom of the painting between the veterans and the clergymen. Its placement between groups of two opposing ideologies is thought to potentially comment on "human aspirations and failures," showing the pointlessness of ideological contests, while also serving to
271:. It represents death of a citizen who is escorted to his last resting place by other citizens ... It has pleased the painter to show us the domestic life of a small town ... As to the alleged ugliness of the townspeople, there is nothing exaggerated about it."
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The composition of the painting has provided further support for this political interpretation. The horizontal format, with all figures represented on roughly the same level, delivered a seemingly egalitarian and socialist message.
248:, however, has argued that the sociopolitical message of the painting is complex. Clark emphasizes the painting's stillness, ambiguity, and irony. At the time of the painting's creation, there was tension between peasants and the
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presents a scene of heaven and hell underneath an aging couple. Many paintings of the subject also represent funeral attendees as mourning or pious, with the clergy shown as devoted. Both of these elements are absent in
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The work was also criticized for its impious presentation of death. At the time, scenes of death and funerals often delivered a religious message. This was true of the woodcuts that influenced
Courbet. For example,
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Other commentators have rejected both politics and class as key to the painting's meaning. Some have simply interpreted it as
Courbet's effort to depict an event that took place in his hometown. The art critic
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as one of
Courbet's most controversial works, helped bring Realism to the attention of the public. Additionally, some historians, such as Mack, believe that Courbet had an influence on the
297:, Christianity could be the basis for a rebuilding of French unity. This interpretation has often been disregarded due to the disconnect between those in the painting and the crucifix.
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Kselman, Thomas A. âCourbet's Burial At Ornans And The Cult Of The Dead.â In Death and
Afterlife in Modern France, 291â302. Princeton: Princeton University Press, 1993.
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Kselman, Thomas A. âCourbet's Burial At Ornans And The Cult Of The Dead.â In Death and
Afterlife in Modern France, 291â302. Princeton: Princeton University Press, 1993.
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Wright, Alastair. âT.J. Clark's âImage of the People: Gustave Courbet and the 1848 Revolutionâ, 1973.â The Burlington Magazine 153, no. 1298 (May 2011): 330â34.
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Courbet's grandfather. The figure among the crowd in the back on the far left of the painting has also been identified as Oudot, Courbet's grandfather.
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While the painting was criticized for its ugliness and impiety, it was also praised for its realism and unprecedented representation of rural France.
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118:. It treats an ordinary, provincial funeral with frank realism, and on the grand scale traditionally reserved for the heroic or religious scenes of
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The painting places the figures in a linear structure, arranging them alongside of each other. For this reason, some have described it as an
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are said to resemble members of the family. Courbet made a sketch prior to the final work, and the people of Ornans posed as models.
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McCarthy, James C. âCourbet's Ideological Contradictions and the Burial at Ornans.â Art Journal 35, no. 1 (Autumn 1975): 12â16.
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Courbet likely drew inspiration from two different types of sources. One is seventeenth-century Dutch group portraits, such as
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McCarthy, James C. âCourbet's Ideological Contradictions and the Burial at Ornans.â Art Journal 35, no. 1 (Autumn 1975): 14.
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McCarthy, James C. âCourbet's Ideological Contradictions and the Burial at Ornans.â Art Journal 35, no. 1 (Autumn 1975): 15.
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McCarthy, James C. âCourbet's Ideological Contradictions and the Burial at Ornans.â Art Journal 35, no. 1 (Autumn 1975): 13.
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Fried, Michael. âThe Structure of Beholding in Courbet's âBurial at Ornans.ââ Critical Inquiry 9, no. 4 (June 1983): 635â83.
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Fried, Michael. âThe Structure of Beholding in Courbet's âBurial at Ornans.ââ Critical Inquiry 9, no. 4 (June 1983): 635â83.
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McCarthy, James C. âCourbet's Ideological Contradictions and the Burial at Ornans.â Art Journal 35, no. 1 (Autumn 1975): 13.
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McCarthy, James C. âCourbet's Ideological Contradictions and the Burial at Ornans.â Art Journal 35, no. 1 (Autumn 1975): 12.
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McCarthy, James C. âCourbet's Ideological Contradictions and the Burial at Ornans.â Art Journal 35, no. 1 (Autumn 1975): 13.
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Fried, Michael. âThe Structure of Beholding in Courbet's âBurial at Ornans.ââ Critical Inquiry 9, no. 4 (June 1983): 635â83.
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Brooks, Peter. âCourbet's House of Realism.â In Realist Vision, 71-95. New Haven: Yale University Press, 2005.
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The prominent position of the crucifix above all other figures is thought to symbolize the importance of
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the painting. They saw the composition as being crowded, disorganized, and without a clear focal point.
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created an "explosive reaction" and brought Courbet instant fame. It is currently displayed at the
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Schapiro, Meyer (Apr 1941). "Courbet and Popular Imagery: An Essay on Realism and Naïveté".
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Schapiro, Meyer (Apr 1941). "Courbet and Popular Imagery: An Essay on Realism and Naïveté".
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in particular, allowed artists to explore new ways of painting and new subject matter.
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Répétition du "Joueur de flûte" et de "La femme de DiomÚde" chez le prince Napoléon
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Arab Chiefs Challenging each other to Single Combat under the Ramparts of a City
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114:. The painting records a funeral in Courbet's birthplace, the small town of
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315 cm Ă 660 cm (124 in Ă 260 in)
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185:(1830), featuring an elevated cross and a grave digger the left, and
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110:. It is widely regarded as a major turning point in 19th-century
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Fortunately, M. Courbet has not tried to prove anything by his
181:(1637). The other is woodcuts from the 1830s and 40s such as
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Image of the People: Gustave Courbet and the 1848 Revolution
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Image of the People: Gustave Courbet and the 1848 Revolution
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wrote at the time, "there is not a trace of socialism in
593:. Princeton: Princeton University Press. p. 114.
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Summary Execution under the Moorish Kings of Granada
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658:. Princeton: Princeton University Press. p. 80-83.
363:movement. According to Mack, Courbet's works, and
1858:The Gallic Women: Episode from the Roman Invasion
351:Courbet is widely regarded as a leader of French
2137:The Road in Front of Saint-Simeon Farm in Winter
518:Journal of the Warburg and Courtauld Institutes
430:Journal of the Warburg and Courtauld Institutes
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2357:Resting by a Stream at the Edge of the Wood
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2661:The Return from Fishing: Hauling the Boat
1929:Berthe Morisot with a Bouquet of Violets
2708:Nature Unveiling Herself Before Science
1884:The Excommunication of Robert the Pious
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2577:Imperial Fritillaries in a Copper Vase
2321:Avenue of Poplars near Moret-sur-Loing
953:Young Ladies Beside the Seine (Summer)
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16:Painting by Gustave Courbet, 1850â1851
2351:Regatta at Molesey near Hampton Court
2001:Portrait of Monsieur and Madame Manet
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2257:Portrait of the Painter Claude Monet
2107:A Cart on the Snowy Road at Honfleur
1910:The Quai Saint-Michel and Notre-Dame
1795:Self-Portrait with the Yellow Christ
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322:Much of the controversy surrounding
147:Courbet was possibly influenced by
2339:Chemin de la Machine, Louveciennes
2195:The Luxembourg Station in Brussels
1995:Portrait of Marguerite de Conflans
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2637:Portrait of Robert de Montesquiou
1977:The Port of Boulogne by Moonlight
2571:Doctor Gachet's Garden in Auvers
2363:Rue de la Chaussée in Argenteuil
1682:Arab Horses Fighting in a Stable
1629:Café-Concert at Les Ambassadeurs
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173:Company of Captain Allaert Cloek
122:. Its exhibition at the 1850â51
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1650:Portraits at the Stock Exchange
2832:Paintings in the Musée d'Orsay
2607:Pasteur's portrait by Edelfelt
2369:View of the Canal Saint-Martin
2101:The Artist's Garden at Giverny
1935:Blonde Woman with Bare Breasts
1845:A Session of the Painting Jury
835:Portrait of Charles Baudelaire
803:Self-Portrait with a Black Dog
206:cross bearer, choir boys, and
106:) is a painting of 1849â50 by
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2245:Frédéric Bazille at his Easel
2007:Portrait of Stéphane Mallarmé
1669:Boabdil's Farewell to Granada
1572:The Romans in their Decadence
1465:Vue de toits (Effet de neige)
1326:The Improvised Field Hospital
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193:, and some of the figures in
2827:Paintings by Gustave Courbet
1120:Jo, the Beautiful Irishwoman
2556:Starry Night Over the RhĂŽne
2431:The Resurrection of Lazarus
2221:Bal du moulin de la Galette
1801:Tahitian Women on the Beach
1752:A Studio at Les Batignolles
1490:Portrait of Gustave Geffroy
1025:Portrait of Countess Karoly
874:Young Ladies of the Village
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2263:Portrait of William Sisley
2131:Resting Under a Lilac Bush
2082:Shepherdess with her Flock
1644:The Orchestra at the Opera
1364:Ploughing in the Nivernais
1093:Portrait of Paul Chenavard
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2721:Woman Bitten by a Serpent
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2345:The Forge at Marly-le-Roi
1965:Madame Manet at the Piano
1953:Flowers in a Crystal Vase
1433:Three Women with Parasols
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1017:Proudhon and His Children
737:Smart History: Courbet's
725:Smarthistory - Courbet's
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169:Banquet of Captain Bicker
151:after a trip to Amsterdam
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1783:The Schuffenecker Family
1459:Les raboteurs de parquet
305:The two veterans of the
2487:What is Called Vagrancy
2113:Le DĂ©jeuner sur l'herbe
1947:Le DĂ©jeuner sur l'herbe
1740:The Corner of the Table
1351:Pilgrims going to Mecca
1172:Le DĂ©jeuner sur l'herbe
98:Un enterrement Ă Ornans
2857:Painting controversies
2562:Portrait of Dr. Gachet
2375:The Village of Voisins
2333:The Canal Saint-Martin
2038:Luxe, Calme et Volupté
1989:Portrait of Emile Zola
1983:Portrait of Clemenceau
1789:Self-Portrait in a Hat
1478:The Hanged Man's House
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1085:The Woman in the Waves
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1001:The Source of the Loue
922:The Seaside at Palavas
850:After Dinner at Ornans
688:Mack, Gerstle (1989).
603:Mack, Gerstle (1989).
394:Mack, Gerstle (1989).
191:Pierre-Joseph Proudhon
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2842:Paintings about death
2468:Sailboats and Estuary
2125:Regatta at Argenteuil
2051:French Campaign, 1814
1395:Equality Before Death
1136:Still-Life with Fruit
692:. Da Capo. p. 88-93.
398:. Da Capo. p. 88-93.
158:
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2550:The Church at Auvers
2511:The Wheel of Fortune
2239:Dance in the Country
2182:The Fiancée of Belus
2019:A Sprig of Asparagus
1777:Breton Peasant Women
1547:The Painter's Studio
930:The Painter's Studio
654:Clark, T.J. (1973).
607:. Da Capo. p. 80-1.
589:Clark, T.J. (1973).
163:by Courbet from 1849
2852:Religious paintings
2802:Musée des Augustins
2143:Women in the Garden
1771:The Beautiful Angel
1746:Homage to Delacroix
1623:The Bellelli Family
1294:In the Conservatory
1069:Woman with a Parrot
938:Madame Auguste Cuoq
159:Original sketch of
103:A Funeral at Ornans
2800:On display at the
2747:Virgin with a Lily
2631:Madame Charles Max
2327:The Canal du Loing
2251:Girls at the Piano
2057:The Siege of Paris
1541:L'Origine du monde
1535:A Burial at Ornans
1516:The Poor Fisherman
1446:The Birth of Venus
1377:The Birth of Venus
1320:The Family Reunion
1176:(Monet, 1865â1866)
1050:L'Origine du monde
969:The Hunt Breakfast
866:A Burial at Ornans
858:The Stone Breakers
745:2014-10-10 at the
324:A Burial at Ornans
262:A Burial at Ornans
183:Souvenir Mortuaire
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161:A Burial at Ornans
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149:The Meagre Company
89:A Burial at Ornans
22:A Burial at Ornans
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2233:Dance in the City
1695:Homage to CĂ©zanne
1522:The Turtle Seller
1427:The Lady in White
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1009:The Oak at Flagey
985:Femme nue couchée
914:The Wheat Sifters
797:List of paintings
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613:978-0-306-80375-8
404:978-0-306-80375-8
307:Revolution of '93
130:in Paris, France
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2847:Dogs in art
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2394:La Toilette
2227:The Bathers
2070:The Angelus
2013:The Reading
1923:The Balcony
1585:The Harvest
1453:Caillebotte
1421:Bracquemond
1401:Les Oréades
1139:(1871â1872)
1131:(1869â1870)
1123:(1865â1866)
1004:(1863â1864)
890:The Bathers
853:(1848â1849)
843: 1848
830:(1844â1847)
814:(1843â1845)
290:Catholicism
258:Champfleury
250:bourgeoisie
201:Composition
175:(1632), or
124:Paris Salon
2821:Categories
2760:Rhinocéros
2754:Jacquemart
2684:Sculptures
2308:The Circus
2169:The Cradle
2119:The Magpie
2045:Meissonier
1871:The Source
1721:The Enigma
1617:L'Absinthe
1497:Chassériau
1371:Bouguereau
1288:Bartholomé
1163:Portrayals
1060:Le Sommeil
993:The Source
961:The Quarry
383:References
246:T.J. Clark
134:Background
112:French art
64:Dimensions
2715:Clésinger
2269:The Swing
1959:The Fifer
1941:Bullfight
1897:The Truth
1826:Jerusalem
1807:Vairumati
1708:The Dream
1676:Delacroix
1663:Dehodencq
1408:Boulanger
1307:Haymaking
1257:Paintings
790:Paintings
546:192249765
458:192249765
2806:Toulouse
2601:Edelfelt
2529:van Gogh
2481:The Bath
2438:Whistler
2418:Solitude
2412:Harrison
2404:American
2289:SĂ©rusier
2276:Rousseau
2202:Regnault
1891:Lefebvre
1702:Detaille
1579:Daubigny
1383:La Danse
1229:Building
1128:The Wave
743:Archived
371:See also
301:Veterans
284:Crucifix
227:Analysis
220:additive
212:crucifix
171:(1648),
139:Creation
72:Location
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2647:Spanish
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2388:Le Lit
2315:Sisley
2302:Seurat
2215:Renoir
2150:Moreau
2064:Millet
1865:Ingres
1852:Glaize
1839:Gervex
1814:GĂ©rĂŽme
1633:(1885)
1275:Baader
1267:French
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365:Burial
347:Impact
338:Burial
269:Burial
210:. The
195:Burial
116:Ornans
94:French
54:Medium
36:Artist
2779:Oviri
2521:Dutch
2176:Motte
2095:Monet
1917:Manet
1689:Denis
1611:Degas
1345:Belly
542:S2CID
534:JSTOR
454:S2CID
446:JSTOR
275:Skull
80:Paris
1904:Luce
1715:Doré
694:ISBN
609:ISBN
400:ISBN
46:Year
2804:in
526:doi
438:doi
265:...
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