The "Real" Concept Of Courbet’s Realistic Painting Under Discussion

This topic is optional. The chapter discusses the characteristics of “Realistic”which reflected in Courbet’s realistic works. Courbet, 19 th century French realistic painter. The first section is the preface.The second section introduces Courbet and the formation of his “realistic” concept that he insists steadily. Since the political and culture background and his artistic pursuit, the emergence of Courbet is historically inevitable, simultaneous, that is a personal accidental. The thied chapter is divided into two parts. By analogy and contrast methods, it can be concluded as follows: one,Courbet’s works are different from neoclassicism and romanticism. Drawing materials from real life similarly, Neoclassicism works are ivory-towered and too rational. Meanwhile, romanticism works always partial to subjective illusion and imagination. Nevertheless, Courbet’s works only exhibition the visible and sensible thing. Two, all art forms just start from objective reality, art truth is the principle of them. Courbet realized his ideal: “Representing the customs, ideology, appearance of my time faithfully, just like what I see. One word, creating a living art is my purpose.” In addition to display the social reality, Courbet pursue composition’s contemporaneity intensively. By contrast, neoclassicism express the advocating of ancient art though real image. They like show a image of hero, some strong gumption that face death unflinchingly and the image of relief type. They go for strict sketch;Romanticism tend to convey their feelings, expectations and ideals by means of describing the real image; There are essential differences between naturalism and realism. Naturalism works not express political issues nor social significance, but take along the scientific objectivity to portray the objective social. Three,many scholars have mixed up the “Realism” with “realism”. In fact, they are not equal.From the level of “details real”, Courbet’s Realism using realistic skill. He aimed at letting the composition looks more reality rather than emphasize the conception that all Realism works trying the same approach with “realism”. His “realism” just highlights portraying objective life truthfully and expressing the era characteristics.In reverse, not all realistic works can be labeled Realism. The examples mentioned in this chapter are some art school and modernism which in Courbet’s period or closely related. The fourth chapter is the conclusion, it consist of two aspects. One, the writer take a panoramic view of the painting history, and discusses the influence of Realism to the posterity and its existence significance. Courbet, who revered Velazquez andRembrandt, became the firmly standard-bearer and advocates of “Realism”,while classical and romantic modernism gradually ebbs and impressionist have not flow.Then, “no Courbet, no Manet” namely: before the impressionism “pioneers” of Manet, the flag-bearer of Courbet serves as a unique historical benchmark inheriting the past. Second, some enlightenment from my artistic creation. We should target“artistic truth” to our creation and have the courage to challenge and self-expression.At the same time, we should insight, observing, refined life with a positive though,gather experience in life, strengthen the painting skills. Consequently, we can reach new heights on our creation.