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User:Smithcax/A Burial At Ornans

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A Burial At Ornans (French: Un enterrement à Ornans, also known as A Funeral At Ornans) is a painting of 1849–50 by Gustave Courbet, and one of the major turning points of 19th-century French art. The painting records the funeral in Courbet's birthplace, the small town of Ornans. It treats an ordinary provincial funeral with unflattering realism, and on the giant scale traditionally reserved for the heroic or religious scenes of history painting. Its exhibition at the 1850–51 Paris Salon created an "explosive reaction" and brought Courbet instant fame.[1] It is currently displayed at the Musée d'Orsay in Paris, France.

The painting, which drew both praise and fierce denunciations from critics and the public, is an enormous work, measuring 10 by 22 feet (3.1 by 6.6 meters). According to art historian Sarah Faunce, "In Paris the Burial was judged as a work that had thrust itself into the grand tradition of history painting, like an upstart in dirty boots crashing a genteel party, and in terms of that tradition it was of course found wanting."[2] Then too, the painting lacks the sentimental rhetoric that was expected in a genre work: Courbet's mourners make no theatrical gestures of grief, and their faces seem more caricatured than ennobled. The critics accused Courbet of a deliberate pursuit of ugliness. Eventually, the public grew more interested in the new Realist approach, and the lavish, decadent fantasy of Romanticism lost popularity. The artist well understood the importance of this painting; Courbet said: "The Burial at Ornans was in reality the burial of Romanticism."[3]

Creation edit

 
Courbet was possibly influenced by The Meagre Company after a trip to Amsterdam
 
Original sketch of A Burial at Ornans by. Courbet from 1849

Courbet likely drew inspiration from two different types of sources. One is seventeenth-century Dutch group portraits, such as Banquet of Captain Bicker (1648), Company of Captain Allaert Cloek (1632), or Meagre Company (1637), all of which may have influenced the composition.[4] The other is woodcuts from the 1830s and 40s such as Souvenir Mortuaire (1830), featuring an elevated cross and a grave digger the left, and Degrés des Âges (1830), depicting individuals in a semicircle around a scene of death, both of which likely influenced the content of Courbet's work.[5] While these all likely had an impact on the creation of the painting, Courbet's biographer, 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. Other possibilities are that it was based off of a member of the local Proudhon family, due to some of the figures appearing to be members of that family, and Courbet's close relationship with Pierre-Joseph Proudhon.[6] The painting is one of the first times Courbet mimics the art of the folk, representing religious elements and cynicism. He made a sketch prior to making the final work, and when creating the painting, he had towns people from Ornans pose as models.[5]

Composition edit

At the bottom, center of the painting, there is an open grave with a skull and bones right next to it. Behind the grave is a group of attendees which can be distinguished as a part of one of three groups: church members, veterans with a dog, and other officials and mourners. The members of the church are on the left of the grave, and they consist of, "The priest, choir boys, beadles, and others representing the church."[7] One of them holds a crucifix, which is presented above all other figures in the painting. To the right of the grave, the two figures standing with the white dog were said by Courbet himself to be, "'Two old veterans of the Revolution of '93 ...' dressed 'In the clothes of their time.'"[6] The two figures have since been identified as Secrétan and Cardet, both friends of 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.[8]

The painting is organized with all of the figures being put together in a linear fashion along side of each other. For this reason, some have described it as an additive mode of composition which 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. 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. [4]

Interpretations edit

By 1848, Courbet had the sought a realistic representation of people in his works. He expressed in letters his belief that his art was democratic in nature, and that his depictions of life in Ornans at a grand scale was his way of representing his judgement on social importance to Salon spectators. At the time, art was principally targeted towards the ruling class, so paintings at a scale that was previously reserved for history paintings was provocative for conservatives. As a result of this, as well as the non-traditional elements of the painting, many have interpreted this painting as one that should be interpreted from a political standpoint.[5] This interpretation was especially common by Courbet's contemporaries who praised it, as they appreciated did so for its realism, as well as the democratic and socialist ideals it represented.[9]

This interpretation is also argued because of the composition of the painting. While Burial presents common people on a scale that only monarchs and historical figures had been painted, it also has a lack of focus on one specific element within the painting. This gave it a seemingly egalitarian element. As a result, many saw the painting as being socialist in nature.[10]

In contrast to those who see the meaning being greatly influenced by the politics of his time, art historian T.J. Clark believes the painting is primarily one of stillness, ambiguity, and irony, and that we should view them as sociopolitical. At the time of the paintings creation, there was tension between peasants and the bourgeoisie, and though this painting may depict the rural bourgeoisie, it does not take a stance on them. He claims that instead, it is simply a representation of rural French life, its structure, and permanence.[4] This likely reflects the personal position of Courbet, who's family was not fully bourgeoisie, but was wealthy enough to own two homes. So, instead of being about left and right politics, Clark interprets the painting as being of the subject of class.[11]

Others still saw it as neither about politics nor class. Some simply interpreted it at surface level, claiming that the work is simply Courbet displaying an event that took place in his hometown. One of the art critics who saw it this way was Champfleury, "There is not a trace of socialism in A Burial at Ornans ... They may appeal to the mob for five minutes, but they express matters of but momentary interest ... Fortunately, M. Courbet has not tried to prove anything by his Burial. 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." Essentially, he is saying that all the critics complaining about the statement being made by the size, composition, and content of the painting are over interpreting why Courbet would create this painting in the first place.[12]

Skull edit

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 idealogical contests, while also serving to emotionally move viewers.[6] This is backed by Courbet's discontent with both traditional and revolutionary values. On top of this, the skull is also placed on the side of the grave closer to the veterans, which is potentially an additional comment on revolutionaries. In traditional paintings of crucifixions, the side that the skull is placed on symbolizes those who, "Thrive on death," meaning that his placement of the skull can be interpreted as both a comment on the violence of revolution, while also equating the political forces of both tradition and revolution.[13]

Crucifix edit

While the group left of the grave consists of many different members of the church, they do not appear to be as important as the crucifix held above them. Its placement above all other figures is thought to symbolize the persisting Catholicism and traditional social values of French peasants. Additionally, its portrayal as being held by seemingly disinterested church figures may serve to downplay their importance.[14] As Clark puts it, there is all the elements of the ritual of a burial without their unison. Those attending the service are portrayed as indifferent to the presence of religion within the service, which may be interpreted as Courbet separating the two.[15] Contemporary critics of the painting also noticed this, such as Proudhon. He saw spirituality as being important in the death of a human, and that the impious atmosphere of what is supposed to be a religious ritual is a representation of how France was losing its faith. Others, such as Helene Toussaint, would later argue that the crucifix itself is a representation of hope that after the 1848 revolution, 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.[9]

Veterans edit

The two veterans of the Revolution of '93 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. French historian James C. McCarthy explains that this likely represents the both contempt and compassion Courbet felt towards them. He 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 1848 Revolution. Thus, his unflattering depiction of them may also be a representation of his attitude towards revolution.[14]

Controversies edit

One of the controversies about A Burial at Ornans is its size of 10 by 22 feet. This scale was, at the time, reserved only for history paintings depicting important moments, which is what art academies and competitions often saw as the highest form of painting. This painting instead depicts peasant life at such a grand scale, which seen as scandalous due to how it appeared to demand attention to something that had not been previously treated in this manner. In addition to the size, critics were displeased by the ugliness of the painting. They saw the composition as being crowded, disorganized, and without a clear focal point. Critics of the painting were concerned with the objects represented, representation, and the representable. They saw a peasant funeral as being ugly and inappropriate to be represented in a painting, believed that the painting was bad representation because it was poorly composed and organized, and saw the subject matter to be unrepresentable at such a massive size. The apparent ugliness and impiousness were major issues for critics at the time, but at the same time, it was praised for its realism and unprecedented representation of rural France.[16]

The work was also criticized due to its impious nature regarding death. At the time in France, scenes of death and funerals were often accompanied by a religious aspect. This was true the woodcuts that influenced Courbet. For example, Degrés Des Âges presents a scene of heaven and hell underneath an aging couple. Many paintings of the subject also represent those attending as mourning or pious, with the clergy being seemingly devoted. Both of these are not present in Burial. Some viewers may have seen this as a rightful criticism of contemporary funeral rituals. In 1849, there was a cholera outbreak, during which the funeral industry began to be seen as scandalous due to apparant price gouging. Additionally, there was beginning to be questions about the presence of the church its efficacy. Others saw it as a scandalous representation of how France was losing its faith, and that the painting was celebrating it by representing it at such a massive scale.[9]

Impact edit

Courbet is thought of as being one of the leaders of French Realism. It is a movement that goes against many of the principals that are important in Neoclassicism and Romanticism. Though it may not be a solidified movement, it is often characterized by the depiction of the petty bourgeoisie, rural life, and other subjects which had previously not been viewed as important enough for artistic depiction. Until Courbet, these movements dominated the art scene. With Courbet becoming prominent, and with Burial becoming one of the most discussed works of its time, he was able bring Realism to the attention of the public. Additionally, some historians, such as Mack, believe that Courbet had an influence on the Impressionist movement, and without him, that style would not have developed as it did. Essentially, Courbet's works, and especially Burial, serve as a turning point in art that gave artists the ability to explore new ways of painting, as well as new subject matter.[1]

References edit

  1. ^ a b Mack, Gerstle (1989). Gustave Courbet. Da Capo. p. 88-93. ISBN 9780306803758.
  2. ^ Faunce, Sarah, and Linda Nochlin. Courbet reconsidered. Issued on the occasion of an exhibition to open at the Brooklyn Museum Nov. 4, 1988 - Jan. 16, 1989, the Minneapolis Inst. of Arts Febr. 18 - April 30, 1989. Brooklyn, NY: Brooklyn Museum, 1988, p. 4. ISBN 0-300-04298-1
  3. ^ Mack, Gerstle (1989). Gustave Courbet. Da Capo. p. 89. ISBN 9780306803758.
  4. ^ a b c Fried, Michael. “The Structure of Beholding in Courbet’s ‘Burial at Ornans.’” Critical Inquiry 9, no. 4 (June 1983): 635–83.
  5. ^ a b c Schapiro, Meyer (Apr 1941). "Courbet and Popular Imagery: An Essay on Realism and Naïveté". Journal of the Warburg and Courtauld Institutes. 4 (3): 164–191 – via JSTOR.
  6. ^ a b c McCarthy, James C. “Courbet’s Ideological Contradictions and the Burial at Ornans.” Art Journal 35, no. 1 (Autumn 1975): 13.
  7. ^ McCarthy, James C. “Courbet’s Ideological Contradictions and the Burial at Ornans.” Art Journal 35, no. 1 (Autumn 1975): 12.
  8. ^ McCarthy, James C. “Courbet’s Ideological Contradictions and the Burial at Ornans.” Art Journal 35, no. 1 (Autumn 1975): 12–16.
  9. ^ a b c Kselman, Thomas A. “Courbet’s Burial At Ornans And The Cult Of The Dead.” In Death and Afterlife in Modern France, 291–302. Princeton: Princeton University Press, 1993.
  10. ^ Wright, Alastair. “T.J. Clark’s ‘Image of the People: Gustave Courbet and the 1848 Revolution’, 1973.” The Burlington Magazine 153, no. 1298 (May 2011): 330–34.
  11. ^ Clark, T.J. (1973). Image of the People: Gustave Courbet and the 1848 Revolution. Princeton: Princeton University Press. p. 114.
  12. ^ Mack, Gerstle (1989). Gustave Courbet. Da Capo. p. 80-1. ISBN 9780306803758.
  13. ^ McCarthy, James C. “Courbet’s Ideological Contradictions and the Burial at Ornans.” Art Journal 35, no. 1 (Autumn 1975): 15.
  14. ^ a b McCarthy, James C. “Courbet’s Ideological Contradictions and the Burial at Ornans.” Art Journal 35, no. 1 (Autumn 1975): 14.
  15. ^ Clark, T.J. (1973). Image of the People: Gustave Courbet and the 1848 Revolution. Princeton: Princeton University Press. p. 80-83.
  16. ^ Brooks, Peter. “Courbet’s House of Realism.” In Realist Vision, 71-95. New Haven: Yale University Press, 2005.
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