Estudio del Pintor, de Courbet

Gustave Courbet 1819-1877

El taller del pintor1855

Óleo sobre telah.

3,59 x a. 5,98 m

París, museo de Orsay(c) R.M.N.

Este cuadro-manifiesto, rechazado por el jurado del Salón, es la atracción principal de la exposición particular que organiza Courbet al margen de la Exposición Universal de 1855. Su subtítulo –Alegoría real que determina una fase de siete años de mi vida artística y moral– indica la medida del propósito ambicioso y un tanto enigmático del pintor. "La gente es quien viene a hacerse pintar en mi casa" precisa Courbet, y podemos reconocer principalmente en la parte derecha del cuadro a Baudelaire, Champfleury y Proudhon. Pero la identificación de las figuras de la parte izquierda sigue siendo incierta, se han emitido las especulaciones más diversas en cuanto al sentido real de este cuadro. Con El taller del pintor Courbet cuestiona la jerarquía de los géneros dando a su manifiesto personal el rango y el formato de la más prestigiosa pintura de historia.

Fuente: http://www.musee-orsay.fr

Queremos a Barrabás, de Daumier

Imagen extraída de: http://www.ufmt.br/gpea/pub/ressigEA_EAa%E7%E3o.pdf

Vagón de Tecera clase, de Daumier

The Third-Class Carriage, ca. 1863–65
Honoré Daumier (French, 1808–1879)
Oil on canvas; 25 3/4 x 35 1/2 in. (65.4 x 90.2 cm)H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 (29.100.129)


DescriptionThis celebrated image of working-class travelers, of about 1863–65, was produced by tracing a watercolor (Walters Art Gallery, Baltimore) and then enlarging the composition. Daumier, who had first treated the theme in the mid-1850s, also executed a later, more finished version of the present work (National Gallery of Canada, Ottawa).


Fuente: http://www.metmuseum.org

Entrada del emperador Rodolfo en Basilea, de Pforr

http://www.masterworksartgallery.com/

Italia y Germania, de Overbeck

Friedrich Overbeck (1789 - 1869)

Italia and Germania1828
Oil on canvas, 94,5 x 104,7 cm1832 acquired by King Ludwig IInv.-Nr. WAF 755

The painting depicts two young woman - one blond, the other dark-haired - who are turning towards each other and holding each other's hands as a sign of their unity. The calm balance between benevolent openness and receptive acknowledgment underscores the close relationship of the two.

The painting was originally conceived with the title "Sulamith and Maria" and was intended as a token of friendship between for Franz Pforr: The two Christian brides, Sulamith and Maria, were meant to represent the imaginary wives of both artists. In his version for Overbeck, Pforr fashioned a diptych, in which both female figures were separated from one another (Georg Schäfer Museum, Schweinfurt). In contrast, Overbeck chose for his work the more monumental figure group form. After Franz Pforr's early death in 1812, Overbeck discontinued working on the painting, first returning to its completion several years later. The two female figures were then altered to represent Italia and Germania in order to express the close connection between north and the south, as Overbeck and his group - Germans living in Rome - imagined it to be.

As opposed to the north German art of, for example, Caspar David Friedrich or Philipp Otto Runge the Nazarenes didn't see their future in an art that was autonomous, but strove rather for a re-uniting of painting in the service of religion and state - a return to art's serious, moral purpose. Especially Dürer and Raphael embodied for the Nazarenes the long-gone prime of art, and so were not only creatively imitated, but also in their standard of living. Dürer as the more rational and Raphael as the more idealistic were deliberately chosen as antipodes. The legendary friendship between these two contrary role-models was a preferred theme in both Overbeck's and Pforr's drawings. In light of this, Overbeck's painting "Italia and Germania" can be seen as an attempt to reconcile these two contrary principles into a new, promising painting style.

Fuente: http://www.pinakothek.de/neue-pinakothek