Albert Bierstadt's Oil Paintings
	Albert Bierstadt Museum Jan 8, 1830 - Feb 18, 1902. German-American painter.
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Here are all the paintings of Courbet, Gustave 01

ID	Painting	Oil Pantings, Sorted from A to Z	Painting Description
18954		A Burial at Ornans	1849-50 Oil on canvas Mus??e d\'Orsay, Paris.
65891		Dame auf der Terrasse (Le dame de Francfort)	1858 Oil on canvas 207 x 325 cm (81.50 x 127.95 in)
86071		Forest in Autumn	21.26 inch wide x 14.96 inch high Date 1841(1841) cyf
32546		L'Origine du monde	mk79 1866 Paris
31068		La Reflexion	mk71 Toile H.0.54 L.0.45 Douai,Musee de la Chartreuse
74005		Landscape with Waterfall	oil on canvas, by the French artist Gustave Courbet. 43 in. x 38 3/4 in. x 2 1/2 in. Yale University Art Gallery, gift of Walter Bareiss, B.S. 1940s. Courtesy of Yale University, New Haven, Conn. Date circa 1865 cyf
18960		Mere Gregoire	1855 Oil on canvas The Art Institute of Chicago.
32543		Recreation by our Gallery	mk79 1853
32570		Recreation by our Gallery	mk79 1866
32600		Recreation by our Gallery	mk79 1865-1866
18952		Self-Portrait (Courbet with a Black Dog)	1844 (Signed 1842) Oil on canvas Mus??e du Petit Palais, Paris.
18951		Self-Portrait (Man with a Pipe)	1848-49 Oil on canvas Mus??e Fabre, Montpellier.
33849		The Cliff at Etretat after the Storm	mk87 1870 Oil on canvas 133x162cm Paris,Musee d'Orsay
18949		The Desperate Man	1843-44 Oil on paper mounted on canvas Nationalgalerie, Oslo.
18963		The Fox in the Snow	1860 Oil on canvas The Dallas Museum of Art.
18950		The Hammock	1844 Oil on canvas Oskar Reinhart Foundation, Winterthur.
18957		The Houses of the Chateau D Ornans	1853 Oil on canvas Private collection, Switzerland.
18958		The Meeting (Bonjour, Monsieur Courbet)	1854 Oil on canvas Mus??e Fabre, Montpellier.
18959		The Painter s Studio	1854-55 Oil on canvas Mus??e d\\\\\\\'Orsay, Paris.
18953		The Peasants of Flagey Returning from the Fair	Ornans 1850-55 Oil on canvas Mus??e des Beaux-Arts, Besançon.
18962		The Quarry	1857 Oil on canvas Museum of Fine Arts, Boston.
54525		The Shaded stream	mk235 1865 Oil on canvas 94x135cm
18956		The Sleeping Spinner	1853 Oil on canvas Mus??e Fabre, Montpellier.
18955		The Young Ladies of the Village	1851-52 The Metropolitan Museum of Art, NY.
18961		The Young Ladies on the Banks of the Seine (Summer)	1856-57 Oil on canvas Mus??e du Petit Palais, Paris.
32580		Young ladies at the bank of the Seine	mk79 1857 Prais

Courbet, Gustave

French Realist Painter, 1819-1877 Gustave Courbet was born at Ornans on June 10, 1819. He appears to have inherited his vigorous temperament from his father, a landowner and prominent personality in the Franche-Comt region. At the age of 18 Gustave went to the College Royal at Besançon. There he openly expressed his dissatisfaction with the traditional classical subjects he was obliged to study, going so far as to lead a revolt among the students. In 1838 he was enrolled as an externe and could simultaneously attend the classes of Charles Flajoulot, director of the cole des Beaux-Arts. At the college in Besançon, Courbet became fast friends with Max Buchon, whose Essais Poetiques (1839) he illustrated with four lithographs. In 1840 Courbet went to Paris to study law, but he decided to become a painter and spent much time copying in the Louvre. In 1844 his Self-Portrait with Black Dog was exhibited at the Salon. The following year he submitted five pictures; only one, Le Guitarrero, was accepted. After a complete rejection in 1847, the Liberal Jury of 1848 accepted all 10 of his entries, and the critic Champfleury, who was to become Courbet's first staunch apologist, highly praised the Walpurgis Night. Courbet achieved artistic maturity with After Dinner at Ornans, which was shown at the Salon of 1849. By 1850 the last traces of sentimentality disappeared from his work as he strove to achieve an honest imagery of the lives of simple people, but the monumentality of the concept in conjunction with the rustic subject matter proved to be widely unacceptable. At this time the notion of Courbet's "vulgarity" became current as the press began to lampoon his pictures and criticize his penchant for the ugly. His nine entries in the Salon of 1850 included the Portrait of Berlioz, the Man with the Pipe, the Return from the Fair, the Stone Breakers, and, largest of all, the Burial at Ornans, which contains over 40 life-size figures whose rugged features and static poses are reinforced by the somber landscape. A decade later Courbet wrote: "The basis of realism is the negation of the ideal. Burial at Ornans was in reality the burial of romanticism." In 1851 the Second Empire was officially proclaimed, and during the next 20 years Courbet remained an uncompromising opponent of Emperor Napoleon III. At the Salon of 1853, where the painter exhibited three works, the Emperor pronounced one of them, The Bathers, obscene; nevertheless, it was purchased by a Montpellier innkeeper, Alfred Bruyas, who became the artist's patron and host. While visiting Bruyas in 1854 Courbet painted his first seascapes. Among them is the Seashore at Palavas, in which the artist is seen waving his hat at the great expanse of water. In a letter to Jules Vall's written in this period Courbet remarked: "Oh sea! Your voice is tremendous, but it will never succeed in drowning out the voice of Fame shouting my name to the entire world." Courbet was handsome and flamboyant, naively boastful, and aware of his own worth. His extraordinary selfconfidence is also evident in another painting of 1854, The Meeting, in which Courbet, stick in hand, approaches Bruyas and his servant, who welcome him with reverential attitudes. It has recently been shown that the picture bears a relationship to the theme of the Wandering Jew as it was commonly represented in the naive imagery of the popular Épinal prints. Of the 14 paintings Courbet submitted to the Paris World Exhibition of 1855, 3 major ones were rejected. In retaliation, he showed 40 of his pictures at a private pavilion he erected opposite the official one. In the preface to his catalog Courbet expressed his intention "to be able to represent the customs, the ideas, the appearance of my own era according to my own valuation; to be not only a painter but a man as well; in short, to create living art." One of the rejected works was the enormous painting The Studio, the full title of which was Real Allegory, Representing a Phase of Seven Years of My Life as a Painter. The work is charged with a symbolism which, in spite of obvious elements, remains obscure. At the center, between the two worlds expressed by the inhabitants of the left and right sides of the picture, is Courbet painting a landscape while a nude looks over his shoulder and a child admires his work. Champfleury found the notion of a "real allegory" ridiculous and concluded that Courbet had lost the conviction and simplicity of the earlier works. Young Ladies by the Seine (1856) only served to further convince the critic of Courbet's diminished powers. But if Courbet had begun to disappoint the members of the old realist circle, his popular reputation, particularly outside France, was growing. He visited Frankfurt in 1858-1859, where he took part in elaborate hunting parties and painted a number of scenes based on direct observation. His Stag Drinking was exhibited in Besançon, where Courbet won a medal, and in 1861 his work, as well as a lecture on his artistic principles, met with great success in Antwerp. With the support of the critic Jules Castagnary, Courbet opened a school where students dissatisfied with the training at the cole des Beaux-Arts could hear him extol the virtues of independence from authority and dedication to nature.

All the Albert Bierstadt's Oil Paintings

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