The Painter's Studio
| The Painter's Studio: A real allegory summing up seven years of my artistic and moral life | |
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| French: L'Atelier du peintre. Allégorie réelle déterminant une phase de sept années de ma vie artistique et morale. | |
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| Artist | Gustave Courbet |
| Year | 1855 |
| Medium | Oil on canvas |
| Dimensions | 361 cm × 598 cm (142 in × 235 in) |
| Location | Musée d'Orsay, Paris |
The Painter's Studio: A real allegory summing up seven years of my artistic and moral life (L'Atelier du peintre) is an 1855 oil on canvas painting by Gustave Courbet. It is located in the Musée d'Orsay in Paris, France.
Courbet painted The Painter's Studio in Ornans, France in 1855. "The world comes to be painted at my studio," said Courbet of the Realist work. The figures in the painting are allegorical representations of various influences on Courbet's artistic life. On the left are human figures from all levels of society. In the center, Courbet works on a landscape, while turned away from a nude model who is a symbol of Academic art. On the right are friends and associates of Courbet, mainly elite Parisian society figures, including Charles Baudelaire, Champfleury, Pierre-Joseph Proudhon, and Courbet's most prominent patron, Alfred Bruyas.
The 1855 Paris World Fair's jury accepted eleven of Courbet's works for the Exposition Universelle, but The Painter's Studio was not among them. In an act of self promotion and defiance, Courbet, with the help of Alfred Bruyas, opened his own exhibition (The Pavilion of Realism) close to the official exposition; this was a forerunner of the various Salon des Refusés. Very little praise was forthcoming, and Eugène Delacroix was one of the few painters who supported the work. Of the painting, Courbet stated that The Painter's Studio "represents society at its best, its worst, and its average."
The painting was produced during Courbet's involvement with Realism in art in the mid-1800s. Due to the short amount of time Courbet had to paint it, many original plans for the work had to be discarded. The most noticeable example of this is in the background of the painting. On the back wall of the studio in the painting, Courbet planned to paint replications of other works of his. He ran out of time to paint these in their entirety, so he then covered them up with a reddish-brown preparation color, leaving the partially-finished paintings still relatively visible.
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