Page 55 - Courbet

a biographical example, with its ultimate ramifications, of the personal depth and sensitivity he brought even
to themes that appear deceptively slight. Looking back to the questions I formulated at the beginning of this
essay, I hope to have given plausible answers, even if in many cases they must, for lack of firm documentation,
be conjectural. Art historical explanations are often based on relationships between works that are established
visually and thematically without other proofs. In our case, despite Courbet’s voluminous correspondence,
there are no letters that shed light directly on the picture itself. It is hoped therefore that measuring this
small painting against later works will contribute to a further understanding of the directions that Courbet’s
art would eventually take. And so this essay aims to start discussion by concluding that Mother and Child on a
Hammock is an early and informative milestone in Courbet’s extraordinary and pioneering career.

James H. Rubin*

* I wish to acknowledge the scholarly generosity of Michelle Herding has raised the possibility that Courbet repainted
Hannoosh, Marie-Hélène Girard, Catherine Nesci, and the sky to darker, stormy tones following the breakup with
Amée Boutin in helping me search, unsuccessfully I’m Virginie (Herding, Courbet, a Dream of Modern Art, exh.
afraid, for literary sources. cat., Schirn Kunsthalle, Frankfurt, 2010, no. 8, p. 106).
5. According to Georges Riat, Gustave Courbet, peintre, Paris,
Paintings mentioned in the text in unknown collections H. Floury, 1906, p. 36, the model for The Happy Lovers
or without an illustration are referred to in the notes was named Josephine, and she is blond. Robert Fernier,
with numbers from the catalogue raisonné of Courbet’s Gustave Courbet: peintre de l’art vivant, Paris, Bibliothèque
oeuvre published by Robert Fernier, La Vie et l’oeuvre de des arts, 1969, p. 6, calls her Justine and sees her in
Gustave Courbet, Lausanne-Paris, Fondation Wildenstein / another painting, whereas for The Great Oak he says the
La Bibliothèque des Arts. (1978). model was named Lise — proof, to his mind that ‘le cœur
ne saurait être éternellement fidèle.’
1. All paintings are by Gustave Courbet in oil on canvas 6. Courbet probably met Thérèse Adélaïde Virginie Binet
unless otherwise indicated. through Paul Ansout, who was studying law in Paris and
was from her hometown of Dieppe. See Robert Fernier,
2. In American English the game of draughts is called ‘Courbet avait un fils,’ Bulletin de la Société des Amis de Courbet,
checkers. Ornans, 1951, pp. 1-7. Courbet made Ansout’s portrait in
1843-1844 (Château Musée de Dieppe). See Sarah Faunce
3. The Great Oak, 1843, Private Collection, Paris. See and Linda Nochlin, Courbet Reconsidered, exh. cat., The
Toussaint, 1977, Gustave Courbet, exh. cat., Grand Palais, Brooklyn Museum, 1988, no. 2, p. 90.
Paris, 1977, no. 6, p. 82 and Fernier, no. 34. 7. Charles Léger, Courbet, Paris, Éditions Cres, 1929, p. 14
on Juliette’s opposition to marriage.
4. The painting is probably related to one called The Waltz 8. See below, note 36.
(whereabouts unknown), which was rejected by the Salon 9. Léger, Courbet, op. cit.
of 1846. In 1855, Courbet called it Sentiment du jeune âge,
as if to attribute its idealistic image of love to youthful
idealism. See the catalogue entry by Dominique de
Font-Réaulx in Gustave Courbet, exh. cat., Musée du
Grand Palais, Paris, 2007-2008, no. 9, pp. 110-111. Klaus

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