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Ugliness was their distinguishing feature, as beaut) was that ol the upper classes. Courbet's. clearly, was an ple and by the people; and as such, society. " The objection political as it I" was esthetic. did nothing to dispel the confusion between politics and esthetics the contrary. "Realism," he aliinned. " Permeated by the vague, idealistic current on the ev c ol the revolution of IB ular insurrection. The IB, same year the Salon, brand ol socialism he had sided with the popin the democratic spirit ol 39 the day, was thrown open without restriction to comers.
Print bv representative of the Japanese art that delighted and influenced Manet and his contemporaries. " Claude flat his own. and he came up with an an- figure silhouetted on striking illustration of the success of this solution 56). It upon us with bursts all a is flat background. The Fifer (page the exuberance that befits its youthful model. But. once again.
W hose 1849 painting, The Stone Breakers, can be said to have started the trend toward down-to-earth themes. " Less outspoken was Camille Corot. who was possessed by an almost \\ hen he created this mistv \ ieu <>t the town of Mantes seen through a reverential screen of shimmering trees, Corot love of nature. In such modest landscapes as the one was drawing upon nearly 50 years opposite, Corot defied the prevailing fashion that scorned of experience in painting such mundane, unromantic scenes. Honore Daumier and landscapes.