The association «The Banquet of the Bicentennial» has been strong, last June 10 at the Bistrot de Paris, for two hundred years of the death of Gustave Courbet, this «hedonic well-known, this republican, a pacifist, a european federalist, a visionary, a martyr and the post-modern». This handsome man as the years and the drink turned him into a caricature, and has left tables also wonderful and surprising. The Sleep, also called The Two Friends , 1866, the Origin of The world , 1866, of which the Wikipedia page beats all attendance records and was corrected live this day in a theatre «wikiperformance» .
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A battalion of advocates celebrated today with much fanfare (The Octopus Chimie ParisTech). The committee of honour of this association furiously scholarly brings together a range of scholars, stronger women as victims of gender: Dominique de Font-Réaulx, director of the mediation and of the programming at the musée du Louvre, Laurence des Cars, president of the musée d’orsay and the musée de l’orangerie, Ségolène Le Men, professor emeritus of history of contemporary art at the university of Paris Nanterre and Isolde Pludermacher, curator at the musée d’orsay.
A triumvirate male provides governance: its young president, Thomas Schlesser, who did his thesis on Courbet prior to leading the Foundation Hartung-Bergman, moderator extraordinaire and very chic professor of history of art at the X (polytechnic School) ; treasurer, Albin Gaudaire, director of the sponsorship of the Institute of the brain and spinal Cord (ICM), this pro fort literate and referenced Wikipedia, which has worked in public and one click; his secretary, Yves Sarfati, professor of psychiatry, doctor in neuroscience, psychoanalyst, and author of several works on Courbet who has played the masters of ceremony with peps.
the boys of The Bistrot de Paris are chosen by the master of the house, man of letters and collector of Courbet, Jean-Gabriel Bueuil, in «a view of the casting at the Claude protestant redemption church». They have officiated all day for «Banquet Courbet». Valérie Duponchelle/ Le Figaro
the time Came of the opponents… They were hiding behind the beguiling smile of the actress Émilie Incerti Formentini, with a beautiful roundness, read with a greed of her pussy and with a beautiful talent critics ferocious – and repetition – of The Revue des deux mondes , against Gustave Courbet, the genius, the megalomania fruitful.
Unity of place and action? These criticisms emanate from the noble institution focuses on the four trade fairs of 1850, 1853, 1857 and 1866, and are of a violence that is well worth the jungle of the web.
● Salon of 1850
«there’s a Mr. Courbet portrait painted by himself , and which, by the way, is well understood as color, widely and gently touched it. Under this mask pretentiously uneducated, we have sought to unravel what could be the thought of the artist whose works capture the most prideful and the most perfect contempt of all that the world admires, since he exists. Should it say? These half closed eyelids, this look asleep thrown over the shoulder do not deceive. Of course, Mr. Courbet is a man who appears to have attempted a major renovation, and does not realize that he brings back the art simply to its starting point, the coarse industry of the masters imaigiers. I have heard that it was of the painting of socialist (…). M. Courbet is said: ‘what’s the good of tiring to search for types of beauty, which are only as accidens (sic) in nature and reproduce following an arrangement which is not usual in the life’? The art, being made for everyone, must be all the world to see (…) Here above, our thinker plant his easel at the edge of a large road, where the men break stones: this is a table of all found!»
«Here come then a procession of grim (…). Follow the convoy to the cemetery Ornus (…). The characters the most apparens (sic) of the table are two bedeaux air bachus, in the face rubiconde, dressed in red robes (…) and then comes a file of men and women whose heads insignificant or repel cleaners do not inspire the most low interest. If they are portraits of family, let them to Ornus . For those of us who are not of the Ornus, we need something more that we are home.»
● Salon of 1853.
«It is since three years a lot of noise around the name of Courbet ; there are fanatics and dénigreurs outraged. – According to the first, everything is admirable in M. Courbet; according to the latter everything is detestable, so that the public does not know too much what to take on the young painter of Ornans, which is entered in the field of the arts as a peasant of the Danube, wearing a sayon of goat skin, hooves full of straw, a hat of cotton on the head, a pipe and one at the corner of the mouth, a stick of holly held to the wrist by a strap of leather. This hardiness is sincere, it produces an effect of surprise , and M. Courbet has obtained a reputation which is not usually the fruit of long years of work.»
«The best of all is definitely The Spinner . A big sleeping girl by spinning. His head tilts to heavy sleep ; his hands will miss the distaff garnished with floss and the wheel of the spinning-wheel no longer hear his snoring (…) life inhabits these forms heavy ; if it is not of the flesh, it is at least of the meat (…) the hands sin by desain; they have the air of wooden spatulas, and are too small. this maritorne must have good big hands red with chilblains, greasy water dishes, in harmony with his face red-faced and fleshy».
● Salon of 1857
«We find Mr. Courbet, as we know from his Bathers , which have excited so much scandal (…). Its Ladies of the banks of the Seine seem a challenge brought to all those who have blamed the choice of subjects that he likes to deal with (…). Yet there is talent in this strange figure, a talent of performances a person can think of to challenge it, but what a talent badly spent! All the remonstrances come to fail against the obstinacy of the author: tell him that he is wrong is completely useless».
«I thought first that he had chosen the scandal as a means of success, with the intention of taking a different path as soon as his name would be known. Now I’m starting to change my mind, because his name is known, and it always perseveres».
● Salon of 1866
«If it was sufficient to paint to be an artist , M. Courbet would be a strong respectable; however, this is only a painter, not anything else, a very clever worker. The artist creates, the painter copy.; here is the key difference (…). If the only purpose of painting is to imitate slavishly, the photography is preferable because it is more accurate, and can never deviate. M. Courbet led to these theories of the baroque by a complete absence of imagination, has never understood that often the truth is invented is superior to the truth observed.»
«The Venus de Milo is the most beautiful of all women, it is the same type of woman, and however this is not a woman (…). M. Courbet exhibited another table which has some claim to be of the large painting (…). It is quite mediocre the rest [his] woman with a parrot . Extended, the head thrown back, naked, near a petticoat of crinoline that is there in the equivocal and undesirable effect, the legs here and there , and let it float a huge head of hair that looks like shavings of rosewood, she plays with a parrot which she holds on her hand ; M. Courbet has given this figure of the shadows colors are chocolate, why? This is one of the many mysteries of the realism. »
The spelling and punctuation of the time have been left in the state.
The medium Stone Jonah had tried to «enter into contact» with Gustave Courbet, in front of an audience more curious than convinced. In front of him, a little reluctant, the secretary of the association «The Banquet of the Bicentenary», the psychiatrist Yves Sarfati. Upright and attentive, its president, Thomas Schlesser. Valérie Duponchelle/ Le Figaro