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the nude model is certainly shown subordinate to Courbet, Woman inWhite, that a Salon des Refusés was decreed by
the main actor in the scene. For a probing, feminist the Second Empire administration, where both paintings
interpretation of The Studio, see Nochlin, Courbet’s Real were eventually exhibited. Subsequent reforms expanded
Allegory: Rereading ‘The Painter’s Studio’, in Courbet the Salon jury so that in 1865 Manet’s Olympia (see the
Reconsidered, pp. 17-41. following paragraph) was accepted. The Manet may have
42. See Claire Goldberg Moses,French Feminism in the Nineteenth been shocking, but apparently prostitution was less of a
Century,Albany, State University of NewYork Press, 1984, taboo than lesbianism.
especially ‘Left-Wing Patriarchalism,’ pp. 152-158. 53. ‘C’est plat, ce n’est pas modelé … on dirait une dame de pique
43. Georges Riat, Courbet (1906), NewYork, Parkstone Press, d’un jeu de cartes sortant du bain.’ Courbet quoted by Albert
2008, p. 169. Woolf, ‘Monsieur Manet,’ in LeFigaro, Salon, 1 May,
44. See the amusing letters from Courbet to Madame Lydie 1882, cited in Françoise Cachin, Manet, 1832-1883, exh.
Joliclerc in Correspondance, 1996, nos. 65-10 and 65-12, cat., Grand Palais, Paris, 1983, no. 64, p. 182.
pp. 235 and 237. 54. On The Origin of the World see Isolde Pludomacher,
45. He made some portraits of Jo, for example the exquisite Jo, ‘L’Origine du monde entre imaginaire scientifique et
La belle irlandaise, 1866,The Nationalmuseum, Stockholm, poétique,’ in Cet Obscur objet de désirs :Autour de L’Origine du
where she is grooming her curly ginger locks while gazing monde, exh. cat., Musée Gustave Courbet, Ornans, 2014,
dreamily into a hand-held mirror. pp.115-130.
46. La Dame espagnole 1855, The Philadelphia Museum of 55. ‘L’Homme est né libre, et partout il est dans les fers.’ Jean-
Art. (See Courbet, Letter to Max Buchon, Montpellier, Jacques Rousseau, Du Contrat social, ou Principes du droit
13 September, 1854, Correspondance, 1996, no. 54-4, p. politique, 1762, Devaux, Paris, 1840, p. 4.
117, and Letter to Alfred Bruyas, op. cit., above note 24). 56. Dominique de Font-Réaulx, ‘La Femme à la vague,’ in
If she was also the model for a painting called Gypsy in Courbet, exh. cat. 2007-2008, no. 183, pp. 374-376.
Reflection (1869, The National Museum of Western Art, 57. ‘Être à même de traduire les mœurs, les idées, l’aspect de mon
Tokyo), in which case it would have been painted from époque, selon mon appréciation, [être non seulement un peintre,
memory considerably later, the erotic pose of the latter mais un homme,] en un mot,faire de l’art vivant,tel est mon but.’
could confirm a relationship from Courbet’s past. ‘Le Réalisme,’ Exhibition et vente de 40 tableaux et 4 dessins de
47. Woman with a Cat, 1864, The Worcester Art Museum, l’œuvre de M. Gustave Courbet, Paris, 1855. For a discussion
Massachusetts.The word for cat, recently popularised by a of the Realist Manifesto as well as a reproduction of one
backstage Donald Trump video, has the same connotation version of the original, see my Courbet (Art and Ideas),
in French as in English. pp. 155 ff.
48. Antonio da Correggio, Venus, Satyr, and Cupid, c. 1530, 58. The version of the Manifesto that includes the bracketed
Musée du Louvre, Paris. phrase is reprinted in Riat, Courbet, 1906, p. 133.
49. Sleeping Nude, 1858, Private Collection. 59. ‘Moi, qui crois que tout artiste doit être son propre maître, je ne
50. See the catalogue entry by Sylvain Amic, in Courbet, exh. puis pas songer à me constituer professeur. Je tiens aussi que la
cat. 2007-2008, no 161, p. 342. Given the Emperor’s peinture est un art essentiellement concret et ne peut consister
known libertinage, the gesture may be ambiguous with a que dans la représentation des choses réelles et existantes. C’est
possible erotic underside. une langue toute physique, qui se compose, pour mots, de tous
51. See Splendeurs et Misères : Image de la Prostitution en France, les objets visibles. Un objet abstrait, non visible, non existant,
1850-1919, exh. cat., Musée d’Orsay, 2014. n’est pas du domaine de la peinture. L’imagination dans l’art
52. In 1863 the Salon jury had rejected so many works, consiste à savoir trouver l’expression la plus complète d’une chose
most famously Manet’s Déjeuner sur l’herbe and Whistler’s existante, mais jamais à supposer ou à créer cette chose même.’
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