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was controversial at the Paris Salon. The depiction of realistic subjects who were toiling in misery was considered inappropriate. The lowborn workers displayed on the large canvas were considered a portrayal of ugliness. With the painting
Courbet achieved notoriety and the composition was considered
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The men in tattered clothing represented the oppressed workers who toiled breaking rocks. The painting might have caused viewers to feel uneasy because the men had tools and rocks which may be considered weapons. The men had long-handled hammers. Courbet may have also encouraged the uneasiness by not
577:
and potential for greed". Courbet stated that the subject had to do with his interest in "real and existing things". He went on to say that it was a successful case study of a "socialist painting". By 1915 the painting was considered to be an "important work" and one critic called it an example of
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and he described it as "my way of seeing". In 1855 Courbet claimed that the title of realist "was thrust upon him". Despite
Courbet's statement he is given credit for coming up with the term realism. To demonstrate his style of painting in the realism genre, Courbet once claimed that he could not
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you can see his bare heels sticking out of socks that were once blue. On the other side is a young man with swarthy skin, his head covered with dust; his disgusting shirt all in tatters reveals his arms and parts of his back; a leather suspender holds up what is left of his trousers, and his mud
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painting is in the realism genre, and depicted two peasants (a young man and an old man) breaking rocks. It considered one of the major works that led the art-world to realism. In the composition old and young are on the same level in the image. It is an example of the realism of poverty and the
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I stopped to consider two men breaking stones on the road. One rarely encounters the most complete expression of poverty, so right there on the spot I got an idea for a painting. I made a date to meet them at my studio the following morning. And since then I have painted my
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Courbet went on to describe the clothing of the two peasants as representative of their low station. He also had sympathy for the two stone breakers and in letters he indicated that he was aware of the separation of classes. In describing the older worker he used the
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showing the faces of the two men. The men's faces are likely not shown because they serve as representatives of the common workers. The figures in the painting perform repetitive menial labor and they demonstrate the injustice of peasant life.
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and he stated that
Courbet should be counted among the painters "who reveal a marked predilection for the least civilized of rustic customs and habits". Some art critics made remarks about the careless thick paint applied by
229:. The Germans decided to relocate the painting but it was subsequently destroyed during a bombing raid while being relocated by truck to a safe storage. The second version, a reversed image, survived the war and is in the
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On one side is an old man of seventy, bent over his work, his sledgehammer raised, his skin parched by the sun, his head shaded by a straw hat; his trousers of coarse material, are completely patched; and in his cracked
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of 1850–1851. As a work of realism the subject matter addressed a scene of everyday life. The painting was meant to depict the hard labor that poor citizens experienced. Courbet created two versions of the painting.
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and they described it as, "a subject with very little appeal". They described the composition as not treating the subjects with importance and not having appropriate lighting. Fabien Pillet reviewed the work for
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502:. Early in Breton's career he took inspiration from the realism that Courbet was painting. As Breton's career progressed he began to create idealized images of peasants and poor people.
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555:. At the Paris Salon the painting was met with hostility and the subject was considered unfit for painting. The workers were also criticized as "brutish, worn and dirty". Writer
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588: ... challenged convention by rendering scenes from daily life on the large scale previously reserved for history painting and in an emphatically realistic style."
346:. Courbet signed it in the lower right corner. The second version is smaller, measuring 56 cm Ă— 85 cm (22 in Ă— 33 in), and it is darker.
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painting in
November 1849 after seeing two laborers breaking rocks along the road. Near the end of November 1849 Courbet sent a letter to his friends, French historian
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viewed the painting and described the two men as "the dawn and twilight of modern galley-slave existence". After the 1850 Paris Salon, French diplomat
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in
Dresden. At the time of its acquisition by the museum, the painting was referred to as "Courbet's monumental masterpiece". In February 1945,
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and others thought the paint thickness conveyed ruggedness. Many critics conveyed the idea that the subject of the painting was not proper for
361:. It is a black crayon drawing on white paper and it is 29.5 cm Ă— 21.1 cm (11.6 in Ă— 8.3 in). The work is in the
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In the
November 1849 letter to Francis and Marie Wey, Courbet described the painting as being the same size as his other painting (
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Courbet produced two versions of the painting. The version displayed at the 1850 Paris Salon was in the collection of the
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1882 and it was referred to as "Courbet's monumental masterpiece." During World War II, from 13 to 15 February 1945, the
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painting. He called the composition "a masterpiece in its genre". By 1915, it was considered to be an "important work".
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described the sentiment in the painting by saying, "art that is made for everyone should be what everyone sees."
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the gripping "Truth of life". Art historian Sheila D. Muller has compared the composition's impact with that of
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collection. The dimensions of the work are 30.1 cm Ă— 23.1 cm (11.9 in Ă— 9.1 in).
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because of the "monumental treatment of the commonplace". In 2009, art historian
Kathryn Calley Galitz said, "
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in
Washington D.C., also has a similar image of the young stone breaker. The image is attributed to
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tragedy of work-life. The men are shown as two road laborers in unclean clothing. They wear wooden
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where it was criticized by for its depiction of a subject that was not considered proper for
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404:. German troops hastily loaded artworks from Dresden's galleries and museums onto trucks.
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declared, "starting today, critics can get ready to fight for or against realism in art.
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Rosenheim, Jeff L.; Conrath-Scholl, Gabriele; Heckert, Virginia A.; Sante, Lucy (2022).
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ideals. It was said that the painting "scandalized" those who attended the Paris Salon.
436:. Caricatures of the size of the wooden clogs on one of the subjects were exaggerated.
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I had taken our carriage to go to the Château of Saint-Denis to paint a landscape. Near
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189:. Now destroyed, the image remains an often-cited example of the artistic movement
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573:"a masterpiece in its genre". He saw the painting as "a visual condemnation of
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and his wife Marie Wey, describing how he found inspiration for the painting:
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1.5 m Ă— 2.6 m (4.9 ft Ă— 8.5 ft)
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are not idealized like those in works such as Breton's 1854 painting,
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Before World War II the one version of the painting was housed at the
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The second version of the painting is a mirror image and it is in the
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624:. Chicago, Illinois: University of Chicago Press. pp. 153–158.
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was 1.5 m Ă— 2.6 m (4.9 ft Ă— 8.5 ft).
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1864 Courbet created a drawing of the younger person portrayed in
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740:. Baton Rouge, LA: Louisiana State University Press. p. 71.
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324:(bent), which may have been a pun on his own last name Courbet.
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Art of the
Western World From Ancient Greece to Post Modernism
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portrayed the plight of the rural poor. Courbet's peasants in
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paint an angel because he never saw one. However in his work,
1120:. Melton, United Kingdom: Taylor & Francis. p. 258.
985:. New York: Metropolitan Museum of Art. 1978. p. 262.
788:. Mankato, Minnesota: Creative Education. pp. 27–28.
982:
The
Splendor of Dresden: Five Centuries of Art Collecting
463:) which was also displayed at the Paris Salon along with
1159:. New York: The Metropolitan Museum of Art. p. 76.
947:. Westport, Connecticut: Greenwood Press. p. 49.
944:
Nineteenth-century European Art: A Topical Dictionary
737:
Brassai Images of Culture and the Surrealist Observer
703:. New York: Simon & Schuster. pp. 238–239.
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caked leather boots show gaping holes at every side.
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in Dresden. The painting was acquired by the museum
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828:. Oskar Reinhart Collection 'Am Römerholz'.
822:"Gustave Courbet, The Stonebreakers c. 1849"
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210:praised the work and saw it as a successful
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1078:. Cologne, Germany: Taschen. p. 407.
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659:"Invitational Shoe Resists Classification"
621:Art in an Age of Civil Struggle, 1848–1871
22:
1117:An Introduction to Nineteenth-Century Art
1072:Hagen, Rose-Marie; Hagen, Rainer (2003).
443:Courbet described the painting by saying:
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697:Cole, Bruce; Gealt, Adelheid M. (1989).
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509:to be a political statement supporting
265:Firmin Gillot (after Gustave Courbet),
195:The painting was exhibited at the 1850
1493:Young Ladies Beside the Seine (Summer)
1025:. London: DK Publishing. p. 160.
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280:created works of art in the genre of
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1049:. The Standard Union. 20 May 1893.
521:Before the Paris Salon French poet
657:Berkovitch, Ellen (14 July 2000).
14:
1276:from the original on 3 March 2023
1233:from the original on 28 June 2023
1203:from the original on 23 June 2023
1173:from the original on 28 June 2023
1134:from the original on 28 June 2023
1092:from the original on 28 June 2023
1053:from the original on 28 June 2023
999:from the original on 28 June 2023
961:from the original on 28 June 2023
922:from the original on 27 June 2023
892:from the original on 11 June 2023
862:from the original on 10 June 2023
832:from the original on 10 June 2023
802:from the original on 28 June 2023
754:from the original on 28 June 2023
669:from the original on 28 June 2023
638:from the original on 23 June 2023
39:
18:1849 painting by Gustave Courbet
882:"The Stone Breaker, after 1849"
377:and Courbet and it is from the
1375:Portrait of Charles Baudelaire
1343:Self-Portrait with a Black Dog
918:. Taylor & Francis Group.
1:
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1736:Paintings by Gustave Courbet
1660:Jo, the Beautiful Irishwoman
1565:Portrait of Countess Karoly
1414:Young Ladies of the Village
1197:National Gallery of Ireland
941:Strieter, Terry W. (1999).
782:Gunderson, Jessica (2008).
432:which the press of the day
386:Gemäldegalerie Alte Meister
330:was first exhibited at the
219:Gemäldegalerie Alte Meister
130:Gemäldegalerie Alte Meister
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1633:Portrait of Paul Chenavard
1255:Dutch Art: An Encyclopedia
1252:Muller, Sheila D. (1997).
1557:Proudhon and His Children
1021:Collins, Michael (2022).
357:. The drawing is titled,
340:Oskar Reinhart Collection
255:Oskar Reinhart Collection
231:Oskar Reinhart Collection
38:
30:
1114:Facos, Michelle (2011).
1075:What Great Paintings Say
858:. University of Oxford.
734:Warehime, Marja (1998).
663:The Santa Fe New Mexican
420:Description and analysis
1712:Le DĂ©jeuner sur l'herbe
1227:The Cincinnati Enquirer
886:National Gallery of Art
852:"A young stone breaker"
371:National Gallery of Art
271:National Gallery of Art
251:Les Casseurs de pierres
168:Les Casseurs de pierres
145:Les Casseurs de pierres
47:Les Casseurs de pierres
33:Les Casseurs de pierres
1710:
1625:The Woman in the Waves
1598:
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1541:The Source of the Loue
1462:The Seaside at Palavas
1390:After Dinner at Ornans
1156:Bernd and Hilla Becher
618:Boime, Albert (2008).
581:Passing Mother's Grave
567:Pierre-Joseph Proudhon
535:published a review of
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227:Allies of World War II
208:Pierre-Joseph Proudhon
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1676:Still-Life with Fruit
1229:. 19 September 1915.
1223:"Week in Art Circles"
1047:"Art in the Journals"
543:Le Moniteur Universel
477:
359:A young stone breaker
302:
264:
248:
1470:The Painter's Studio
367:University of Oxford
121:Destroyed in bombing
1609:Woman with a Parrot
1478:Madame Auguste Cuoq
888:. Washington, D.C.
488:Other artists like
414:Königstein Fortress
1716:(Monet, 1865–1866)
1590:L'Origine du monde
1509:The Hunt Breakfast
1406:A Burial at Ornans
1398:The Stone Breakers
1260:Garland Publishing
586:The Stone Breakers
571:The Stone Breakers
537:The Stone Breakers
506:The Stone Breakers
494:The Stone Breakers
486:
469:A Burial at Ornans
465:The Stone Breakers
460:A Burial at Ornans
425:The Stone Breakers
406:The Stone Breakers
355:The Stone Breakers
328:The Stone Breakers
294:The Stone Breakers
287:The Stone Breakers
275:
259:
223:Dresden was bombed
158:The Stone Breakers
26:The Stone Breakers
1751:Realist paintings
1723:
1722:
1549:The Oak at Flagey
1525:Femme nue couchée
1454:The Wheat Sifters
1337:List of paintings
1269:978-1-135-49574-9
1166:978-1-58839-755-3
1127:978-1-136-84071-5
1085:978-3-8228-2100-8
1032:978-0-7440-7793-3
1023:Lost Masterpieces
992:978-0-87099-177-6
954:978-0-313-29898-1
795:978-1-58341-612-9
747:978-0-8071-2276-1
710:978-0-671-74728-2
631:978-0-226-06342-3
557:Jules Champfleury
292:He began work on
267:The Stone Breaker
249:Gustave Courbet,
181:on canvas by the
171:), also known as
154:
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1763:
1756:Paintings of men
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1581:The Fishing Boat
1573:Le ruisseau noir
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1486: 1852–1857
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1359:The Happy Lovers
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1278:. Retrieved
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1430:The Bathers
1393:(1848–1849)
1383: 1848
1370:(1844–1847)
1354:(1843–1845)
379:René Huyghe
332:Paris Salon
298:Francis Wey
269:(undated),
197:Paris Salon
1730:Categories
1703:Portrayals
1600:Le Sommeil
1533:The Source
1501:The Quarry
1280:10 January
826:Roemerholz
592:References
575:capitalism
523:Max Buchon
344:Winterthur
235:Winterthur
110:Dimensions
1330:Paintings
517:Reception
511:socialist
434:satirized
410:destroyed
306:Maisières
212:socialist
118:Condition
1668:The Wave
1274:Archived
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667:Archived
636:Archived
553:high art
309:picture.
201:high art
191:Realism.
185:painter
126:Location
91:Movement
31:French:
1687:Museums
1237:28 June
1207:23 June
1177:28 June
1138:23 June
1057:28 June
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896:11 June
866:11 June
836:11 June
785:Realism
758:28 June
716:28 June
673:28 June
569:called
562:French
365:at the
282:realism
253:(1849)
241:History
225:by the
134:Dresden
102:Subject
70: (
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450:sabots
398:bombed
394:Allies
369:. The
321:courbé
316:French
183:French
163:French
150:(1849)
80:Medium
55:Artist
430:clogs
318:word
1282:2023
1264:ISBN
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484:1854
408:was
105:Work
72:1849
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65:Year
349:In
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