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Editorial Reviews
Product Description
"'This book,' Michael Fried's work opens, 'was written not so much chapter by chapter as painting by painting over a span of roughly ten years.' Courbet's Realism is a magnificent work and its very first sentence brings us up against the qualities of mind of its author, qualities that make it as impressive as it is. It allows us to reconstruct the keen eye, the commitment to perception, the gift of rapt concentration, the conviction that great paintings are not necessarily understood easily, and the further conviction that a great painter deserves to get from us as good as he gives. By drawing on these qualities, Fried achieves something out of reach for all but a handful of his colleagues. In his writing, art history takes on some of the character of art itself. It is driven by the same stubborn resolve to open our eyes."—Richard Wollheim, San Francisco Review of Books
Courbet's Realism is clearly a major contribution to the highly active field of Courbet studies. . . . But to contribute here and now is necessarily also to contribute to central debates about art history itself, and so the book is also—I hesitate to say 'more importantly,' because of the way object and method are woven together in it—a major contribution to current attempts to rethink the foundations and objects of art history. . . . It will not be an easy book to come to terms with; for all its engagement with contemporary literary theory and related developments, it is not an application of anything, and its deeply thought-through arguments will not fall easily in line with the emerging shapes of the various 'new art histories' that tap many of the same theoretical resources. At this moment, there may be nothing more valuable than such a work."—Stephen Melville, Art History
Courbet's Realism is clearly a major contribution to the highly active field of Courbet studies. . . . But to contribute here and now is necessarily also to contribute to central debates about art history itself, and so the book is also—I hesitate to say 'more importantly,' because of the way object and method are woven together in it—a major contribution to current attempts to rethink the foundations and objects of art history. . . . It will not be an easy book to come to terms with; for all its engagement with contemporary literary theory and related developments, it is not an application of anything, and its deeply thought-through arguments will not fall easily in line with the emerging shapes of the various 'new art histories' that tap many of the same theoretical resources. At this moment, there may be nothing more valuable than such a work."—Stephen Melville, Art History
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Inside This Book
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First Sentence:
GUSTAVE COURBET was born in the village of Ornans, not far from Besancon, on 10 June 1819. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
kneeling sifter, wheat sifters, antitheatrical project, beholder tout court, waterlike representations, old stonebreaker, kneeling gravedigger, dead roe deer, absorptive themes, seated painter, breakthrough pictures, own embodiedness, standing bather, fighting stags, grave axes, antitheatrical tradition, primordial convention, early sketchbook, pictorial drama, seated model, being beheld, journal pour rire, sketchbook page, male sitter, real allegory Key Phrases - Capitalized Phrases (CAPs): (learn more)
After Dinner, Gustave Courbet, Courbet's Realism, Painter's Studio, Death of the Stag, Country Siesta, Young Women, Black Dog, Source of the Loue, Peasants of Flagey, Régis Courbet, Filial Piety, Gustave Courbez, Small Portrait of Courbet, The Origin of the World, Théodore Géricault, White Stockings, Banks of the Seine, Courbet's Realist, Jean-François Millet, New York, Brasserie Andler, Charles Baudelaire, Draughts Players, Exposition Universelle New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
GUSTAVE COURBET was born in the village of Ornans, not far from Besancon, on 10 June 1819. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
kneeling sifter, wheat sifters, antitheatrical project, beholder tout court, waterlike representations, old stonebreaker, kneeling gravedigger, dead roe deer, absorptive themes, seated painter, breakthrough pictures, own embodiedness, standing bather, fighting stags, grave axes, antitheatrical tradition, primordial convention, early sketchbook, pictorial drama, seated model, being beheld, journal pour rire, sketchbook page, male sitter, real allegory Key Phrases - Capitalized Phrases (CAPs): (learn more)
After Dinner, Gustave Courbet, Courbet's Realism, Painter's Studio, Death of the Stag, Country Siesta, Young Women, Black Dog, Source of the Loue, Peasants of Flagey, Régis Courbet, Filial Piety, Gustave Courbez, Small Portrait of Courbet, The Origin of the World, Théodore Géricault, White Stockings, Banks of the Seine, Courbet's Realist, Jean-François Millet, New York, Brasserie Andler, Charles Baudelaire, Draughts Players, Exposition Universelle New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 84
books:
See all 84 books this book cites
20
books
cite this book:
See all 20 books citing this book
- Courbet Reconsidered by Sarah Faunce on 10 pages
- The World Viewed: Reflections on the Ontology of Film, Enlarged Edition by Stanley Cavell on 7 pages
- The End of the Line by Neil Hertz on 6 pages
- Romanticism and Realism: The Mythology of Nineteenth-Century Art (A Norton paperback) by Charles Rosen in Back Matter (1), Back Matter (2), and Back Matter (3)
- Michel Foucault by Hubert L. (Hubert Lederer) Dreyfus in Back Matter (1), Back Matter (2), and Back Matter (3)
See all 84 books this book cites
- Seams: Art as a Philosophical Context (Critical Voices in Art, Theory and Culture) by Stephe Melville on 6 pages
- Our Beautiful, Dry and Distant Texts: Art History as Writing by James Elkins on page 231, page 246, and page 248
- Landscape And Memory by Simon Schama in Back Matter (1), and Back Matter (2)
- Apartment Stories: City and Home in Nineteenth-Century Paris and London by Sharon Marcus in Back Matter (1), and Back Matter (2)
- Unpacking Duchamp: Art in Transit by Dalia Judovitz in Back Matter (1), and Back Matter (2)
See all 20 books citing this book
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