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Gustave COURBET (1819-1877) (after) Hind in a wood. Oil on canvas monogrammed GC lower left. 23 x 40 cm

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Gustave COURBET (1819-1877) (after) Hind in a wood. Oil on canvas monogrammed GC lower left. 23 x 40 cm

Estimate 120 - 150 EUR

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For sale on Saturday 29 Jun : 14:30 (CEST)
saint-germain-en-laye, France
SGL Enchères - Frédéric Laurent de Rummel et Peggy Savidan
+33139739564
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[Gustave COURBET (Ornans, 1819 - La Tour-de-Peilz, 1877)] "Le Retour de la Conférence", 1863. PHOTOGRAPHIC CLICHE on salted paper (accidents), mounted on strong cardboard, attributed to Pierre-Ambroise Richebourg (1810-1875), of the famous painting that caused a scandal in its day and has since disappeared. With handwritten dedication by Gustave Courbet: "to my old friend Darcier". Height: 17 cm. Width: 25 cm. The Musée Courbet in Ornans has a copy of the same picture dedicated by the painter "to Mr. Bain". Provenance : - Pre-war Parisian collection. - By descent, Pays de Penthièvre. This photograph of the original work is dedicated to the artist Joseph Lemaire dit Joseph Darcier (1819-1883), popular chansonnier, composer and goguetier. Le Retour de la Conférence" was Courbet's first work to cause a scandal, before "L'Origine du Monde". A true pamphleteer and satirist, Courbet wrote in 1862: "This painting makes the whole country laugh, and myself in particular. It is the most grotesque painting ever seen. I don't dare depict it for you, only that it's a picture of priests". Deemed subversive and immoral, the painting scandalized his contemporaries, being rejected at the 1863 Salon and even at the Salon des refusés created the same year by Emperor Napoleon III. Courbet was delighted: "I did this painting so that it would be rejected. I succeeded." The painting satirically depicts a group of seven drunken priests returning from an ecclesiastical conference. An anti-clerical, Courbet thus attacked the established order of the Second Empire, i.e. the imperial power and its clerical allies, who limited the freedom of the press and artists subject to censorship, and bourgeois conformism. The public flocked to the artist's studio to admire the object of scandal. The original work disappeared in the early 20th century, supposedly acquired by a wealthy Catholic financier intent on destroying "this impious and scandalous piece of filth". All that remains are two preparatory sketches, photographs of the original painting and engravings, the artist having had his work reproduced for wider distribution.