Showing posts with label Courbet. Show all posts
Showing posts with label Courbet. Show all posts

Saturday, April 26, 2008

Addendum VI


Gustave Courbet (1819-1877): A Somnolent Sisterhood




Reclining Nude, c.1840–41




The Hammock, 1844




The Young Ladies of the Banks of the Seine, 1857




Reclining Nude, 1862




Reclining Woman, c. 1865-66




Woman with a Parrot, 1866


'The nude does not simply represent the body, but relates it, by analogy, to all structures that have become part of our imaginative experience.'

Kenneth Clark

Tuesday, April 22, 2008

A Tree Is A Tree Is A Tree




Gustave Courbet (1819-1877) - The Oak of Flagey, 1864


'I have never seen angels. Show me an angel and I will paint one.'

Gustave Courbet

Sunday, April 06, 2008

Addendum I


The Mother Of All Gynecological Gazes




Gustave Courbet (1819-1877) - The Origin of the World, 1866

Wednesday, March 26, 2008

Let Us To Bodies Go


Exhibit A:



Gustave Courbet (1819-1877) - Sleep, 1866

Exhibit B:



Thomas Ruff (b. 1958) - Nudes, 2000


The Ecstasy

Where, like a pillow on a bed,
A pregnant bank swell'd up, to rest
The violet's reclining head,
Sat we two, one another's best.

Our hands were firmly cemented
By a fast balm, which thence did spring;
Our eye-beams twisted, and did thread
Our eyes upon one double string.

So to engraft our hands, as yet
Was all the means to make us one;
And pictures in our eyes to get
Was all our propagation.

As, 'twixt two equal armies, Fate
Suspends uncertain victory,
Our souls - which to advance their state,
Were gone out - hung 'twixt her and me.

And whilst our souls negotiate there,
We like sepulchral statues lay;
All day, the same our postures were,
And we said nothing, all the day.

If any, so by love refined,
That he soul's language understood,
And by good love were grown all mind,
Within convenient distance stood,

He - though he knew not which soul spake,
Because both meant, both spake the same -
Might thence a new concoction take,
And part far purer than he came.

This ecstasy doth unperplex
(We said) and tell us what we love;
We see by this, it was not sex;
We see, we saw not, what did move

But as all several souls contain
Mixture of things they know not what,
Love these mix'd souls doth mix again,
And makes both one, each this, and that.

A single violet transplant,
The strength, the colour, and the size -
All which before was poor and scant -
Redoubles still, and multiplies.

When love with one another so
Interanimates two souls,
That abler soul, which thence doth flow,
Defects of loneliness controls.

We then, who are this new soul, know,
Of what we are composed, and made,
For th' atomies of which we grow
Are souls, whom no change can invade.

But, O alas ! so long, so far,
Our bodies why do we forbear?
They are ours, though not we; we are
Th' intelligences, they the spheres.

We owe them thanks, because they thus
Did us, to us, at first convey,
Yielded their senses' force to us,
Nor are dross to us, but allay.

On man heaven's influence works not so,
But that it first imprints the air;
For soul into the soul may flow,
Though it to body first repair.

As our blood labours to beget
Spirits, as like souls as it can ;
Because such fingers need to knit
That subtle knot, which makes us man ;

So must pure lovers' souls descend
To affections, and to faculties,
Which sense may reach and apprehend,
Else a great prince in prison lies.

To our bodies turn we then, that so
Weak men on love reveal'd may look;
Love's mysteries in souls do grow,
But yet the body is his book.

And if some lover, such as we,
Have heard this dialogue of one,
Let him still mark us, he shall see
Small change when we're to bodies gone.

John Donne

Tuesday, September 26, 2006

The Muff Manifesto: Part One





'Nowadays vagina envy has been joined by pudenda power. One famous expression of it is Courbet's 1866 spread-eagle crotch shot, The Origin of the World [above], which scandalized not only because it displayed a flash of pink, but because it portrayed the female sex in its full hairy glory, rather than classicised and bare. Then there's real life: John Ruskin, who on his wedding night fled at the sight of his wife's pubic hair. This was before photography (and Courbet's painting), and the only female nudes he'd seen had been in art, and carefully tonsured. He thought his wife was grossly deformed, a freak.'

From Pudenda Agenda by Jerry Saltz (Artnet Magazine Features).


Reading:

The Sadeian Woman - Angela Carter

The History of Sexuality Vol. 1: An Introduction - Michel Foucault

The History of Sexuality Vol. 2: The Use of Pleasure - Michel Foucault

The History of Sexuality Vol. 3: Care of the Self - Michel Foucault

Viewing:

That Obscure Object of Desire (1977) - d. Luis Bunuel