Gustave Courbet
French realist painter (1819–1877)
Jean Désiré Gustave Courbet ( ; ; ; 10 June 1819 – 31 December 1877) was a French painter who led the Realism movement in 19th-century French painting. Committed to painting only what he could see, he rejected academic convention and the Romanticism of the previous generation of visual artists. His independence set an example that was important to later artists, such as the Impressionists and the Cubists. Courbet occupies an important place in 19th-century French painting as an innovator and as an artist willing to make bold social statements through his work.
Courbet's paintings of the late 1840s and early 1850s brought him his first recognition. They challenged convention by depicting unidealized peasants and workers, often on a grand scale traditionally reserved for paintings of religious or historical subjects. Courbet's subsequent paintings were mostly of a less overtly political character: landscapes, seascapes, hunting scenes, nudes, and still lifes. Courbet was imprisoned for six months in 1871 for his involvement with the Paris Commune and lived in exile in Switzerland from 1873 until his death four years later.
Biography.
Gustave Courbet was born in 1819 to Régis and Sylvie Oudot Courbet in Ornans (department of Doubs). Anti-monarchical feelings prevailed in the household. (His maternal grandfather fought in the French Revolution.) Courbet's sisters, Zoé, Zélie, and Juliette were his first models for drawing and painting. After moving to Paris he often returned home to Ornans to hunt, fish, and find inspiration.
Courbet went to Paris in 1839 and worked at the studio of Steuben and Hesse. An independent spirit, he soon left, preferring to develop his own style by studying the paintings of Spanish, Flemish and French masters in the Louvre, and painting copies of their work.
Courbet's first works were an "Odalisque" inspired by the writing of Victor Hugo and a "Lélia" illustrating George Sand, but he soon abandoned literary influences, choosing instead to base his paintings on observed reality. Among his paintings of the early 1840s are several self-portraits, Romantic in conception, in which the artist portrayed himself in various roles. These include "Self-Portrait with Black Dog" (c. 1842–44, accepted for exhibition at the 1844 Paris Salon), the theatrical "Self-Portrait" which is also known as "Desperate Man" (c. 1843–45), "Lovers in the Countryside" (1844, Musée des Beaux-Arts, Lyon), "The Sculptor" (1845), "The Wounded Man" (1844–54, Musée d'Orsay, Paris), "The Cellist, Self-Portrait" (1847, Nationalmuseum, Stockholm, shown at the 1848 Salon), and "Man with a Pipe" (1848–49, Musée Fabre, Montpellier).
Trips to the Netherlands and Belgium in 1846–47 strengthened Courbet's belief that painters should portray the life around them, as Rembrandt, Hals and other Dutch masters had. By 1848, he had gained supporters among the younger critics, the Neo-romantics and Realists, notably Champfleury.
Courbet achieved his first Salon success in 1849 with his painting "After Dinner at Ornans". The work, reminiscent of Chardin and Le Nain, earned Courbet a gold medal and was purchased by the state. The gold medal meant that his works would no longer require jury approval for exhibition at the Salon—an exemption Courbet enjoyed until 1857 (when the rule changed).
In 1849–50, Courbet painted "The Stone Breakers" (destroyed in the Allied Bombing of Dresden in 1945), which Proudhon admired as an icon of peasant life; it has been called "the first of his great works". The painting was inspired by a scene Courbet witnessed on the roadside. He later explained to Champfleury and the writer Francis Wey: "It is not often that one encounters so complete an expression of poverty and so, right then and there I got the idea for a painting. I told them to come to my studio the next morning."
Realism.
Courbet's work belonged neither to the predominant Romantic nor Neoclassical schools. History painting, which the Paris Salon esteemed as a painter's highest calling, did not interest him, for he believed that "the artists of one century [are] basically incapable of reproducing the aspect of a past or future century ..." Instead, he maintained that the only possible source for living art is the artist's own experience. He and Jean-François Millet would find inspiration painting the life of peasants and workers.
Courbet painted figurative compositions, landscapes, seascapes, and still lifes. He courted controversy by addressing social issues in his work, and by painting subjects that were considered vulgar, such as the rural bourgeoisie, peasants, and working conditions of the poor. His work, along with that of Honoré Daumier and Jean-François Millet, became known as "Realism". For Courbet realism dealt not with the perfection of line and form, but entailed spontaneous and rough handling of paint, suggesting direct observation by the artist while portraying the irregularities in nature. He depicted the harshness of life, and in doing so challenged contemporary academic ideas of art. One of the distinctive features of Courbet's Realism was his lifelong attachment to his native province, the Franche-Comté, and of his birthplace, Ornans.
"The Stone Breakers".
Considered to be the first of Courbet's great works, "The Stone Breakers" of 1849 is an example of social realism that caused a sensation when it was first exhibited at the Paris Salon in 1850. The work was based on two men, one young and one old, whom Courbet discovered engaged in backbreaking labor on the side of the road when he returned to Ornans for an eight-month visit in October 1848. On his inspiration, Courbet told his friends and art critics Francis Wey and Jules Champfleury, "It is not often that one encounters so complete an expression of poverty and so, right then and there I got the idea for a painting."
While other artists had depicted the plight of the rural poor, Courbet's peasants are not idealized like those in works such as Breton's 1854 painting, "The Gleaners".
During World War II, from 13 to 15 February 1945, the Allies continuously bombed the city of Dresden, Germany. German troops hastily loaded artworks from Dresden's galleries and museums onto trucks. "The Stone Breakers" was destroyed, along with 153 other paintings, when a transport vehicle moving the pictures to the Königstein Fortress, near Dresden, was bombed by Allied forces.
"A Burial at Ornans".
The Salon of 1850–1851 found him triumphant with "The Stone Breakers", the "Peasants of Flagey" and "A Burial at Ornans". The "Burial", one of Courbet's most important works, records the funeral of his grand uncle which he attended in September 1848. People who attended the funeral were the models for the painting. Previously, models had been used as actors in historical narratives, but in "Burial" Courbet said he "painted the very people who had been present at the interment, all the townspeople". The result is a realistic presentation of them and life in Ornans.
The vast painting, measuring , drew both praise and fierce denunciations from critics and the public, in part because it upset convention by depicting a prosaic ritual on a scale which would previously have been reserved for a religious or royal subject.
According to art historian Sarah Faunce, "In Paris, the "Burial" was judged as a work that had thrust itself into the grand tradition of history painting, like an upstart in dirty boots crashing a genteel party, and in terms of that tradition it was, of course, found wanting." The painting lacks the sentimental rhetoric that was expected in a genre work: Courbet's mourners make no theatrical gestures of grief, and their faces seemed more caricatured than ennobled. The critics accused Courbet of a deliberate pursuit of ugliness.
Eventually, the public grew more interested in the new Realist approach, and the lavish, decadent fantasy of Romanticism lost popularity. Courbet well understood the importance of the painting, and said of it, ""Burial at Ornans" was in reality the burial of romanticism."
Courbet became a celebrity and was spoken of as a genius, a "terrible socialist" and a "savage". He actively encouraged the public's perception of him as an unschooled peasant, while his ambition, his bold pronouncements to journalists, and his insistence on depicting his own life in his art gave him a reputation for unbridled vanity.
Courbet associated his ideas of realism in art with political anarchism, and, having gained an audience, he promoted political ideas by writing politically motivated essays and dissertations. His familiar visage was the object of frequent caricature in the popular French press.
In 1850, Courbet wrote to a friend:
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During the 1850s, Courbet painted numerous figurative works using common folk and friends as his subjects, such as "Village Damsels" (1852), "The Wrestlers" (1853), "The Bathers" (1853), "The Sleeping Spinner" (1853), and "The Wheat Sifters" (1854).
"The Artist's Studio".
In 1855, Courbet submitted fourteen paintings for exhibition at the "Exposition Universelle". Three were rejected for lack of space, including "A Burial at Ornans" and his other monumental canvas "The Artist's Studio". Refusing to be denied, Courbet took matters into his own hands. He displayed forty of his paintings, including "The Artist's Studio", in his gallery called "The Pavilion of Realism" (Pavillon du Réalisme) which was a temporary structure that he erected next door to the official Salon-like "Exposition Universelle".
The work is an allegory of Courbet's life as a painter, seen as a heroic venture, in which he is flanked by friends and admirers on the right, and challenges and opposition to the left. Friends on the right include the art critics Champfleury, and Charles Baudelaire, and art collector Alfred Bruyas. On the left are figures (priest, prostitute, grave digger, merchant, and others) who represent what Courbet described in a letter to Champfleury as "the other world of trivial life, the people, misery, poverty, wealth, the exploited and the exploiters, the people who live off death."
In the foreground of the left-hand side is a man with dogs, who was not mentioned in Courbet's letter to Champfleury. X-rays show he was painted later, but his role in the painting is important: he is an allegory of the then-current French Emperor, Napoleon III, identified by his famous hunting dogs and iconic twirled mustache. By placing him on the left, Courbet publicly shows his disdain for the emperor and depicts him as a criminal, suggesting that his "ownership" of France is an illegal one.
Although artists like Eugène Delacroix were ardent champions of his effort, the public went to the show mostly out of curiosity and to deride him. Attendance and sales were disappointing, but Courbet's status as a hero to the French avant-garde became assured. He was admired by the American James Abbott McNeill Whistler, and he became an inspiration to the younger generation of French artists including Édouard Manet and the Impressionist painters. "The Artist's Studio" was recognized as a masterpiece by Delacroix, Baudelaire, and Champfleury, if not by the public.
Seascapes.
While Courbet's seascapes, painted during his many visits to the northern coast of France in the late 1860s, were decidedly less controversial than his salon submissions, they furthered his contributions (willing or otherwise) to realism with their emphasis on both the beauty and danger of the natural world. There is a distinct range in the tones of this period with "The Calm Sea" (1869) depicting the serenity of the receded tide, and "The Sailboat" (c. 1869) showing a sailboat wrestling with violent tides.
Realist manifesto.
Courbet wrote a Realist manifesto for the introduction to the catalogue of this independent, personal exhibition, echoing the tone of the period's political manifestos. In it, he asserts his goal as an artist is "to translate the customs, the ideas, the appearance of my epoch according to my own estimation."
<templatestyles src="Template:Blockquote/styles.css" />The title of Realist was thrust upon me just as the title of Romantic was imposed upon the men of 1830. Titles have never given a true idea of things: if it were otherwise, the works would be unnecessary.
Without expanding on the greater or lesser accuracy of a name that nobody, I should hope, can really be expected to understand, I will limit myself to a few words of elucidation in order to cut short the misunderstandings.
I have studied the art of the ancients and the art of the moderns, avoiding any preconceived system and without prejudice. I no longer wanted to imitate the one than to copy the other; nor, furthermore, was it my intention to attain the trivial goal of "art for art's sake". No! I simply wanted to draw forth, from a complete acquaintance with tradition, the reasoned and independent consciousness of my own individuality.
To know in order to do, that was my idea. To be in a position to translate the customs, the ideas, the appearance of my time, according to my own estimation; to be not only a painter but a man as well; in short, to create living art – this is my goal. (Gustave Courbet, 1855)
Notoriety.
In the Salon of 1857, Courbet showed six paintings. These included "Young Ladies on the Banks of the Seine (Summer)", depicting two prostitutes under a tree, as well as the first of many hunting scenes Courbet was to paint during the remainder of his life: "Hind at Bay in the Snow" and "The Quarry".
"Young Ladies on the Banks of the Seine", painted in 1856, provoked a scandal. Art critics accustomed to conventional, "timeless" nude women in landscapes were shocked by Courbet's depiction of modern women casually displaying their undergarments.
By exhibiting sensational works alongside hunting scenes, of the sort that had brought popular success to the English painter Edwin Landseer, Courbet guaranteed himself "both notoriety and sales".
During the 1860s, Courbet painted a series of increasingly erotic works such as "Femme nue couchée", culminating in "The Origin of the World (L'Origine du monde)" (1866), which depicts female genitalia and was not publicly exhibited until 1988, and "Sleep" (1866), featuring two women in bed. The latter painting became the subject of a police report when it was exhibited by a picture dealer in 1872.
Until about 1861, Napoléon's regime had exhibited authoritarian characteristics, using press censorship to prevent the spread of opposition, manipulating elections, and depriving Parliament of the right to free debate or any real power. In the 1860s, however, Napoléon III made more concessions to placate his liberal opponents. This change began by allowing free debates in Parliament and public reports of parliamentary debates. Press censorship, too, was relaxed and culminated in the appointment of the Liberal Émile Ollivier, previously a leader of the opposition to Napoléon's regime, as the "de facto" Prime Minister in 1870. As a sign of appeasement to the Liberals who admired Courbet, Napoleon III nominated him to the Legion of Honour in 1870. His refusal of the cross of the Legion of Honour angered those in power but made him immensely popular with those who opposed the prevailing regime.
Courbet and the Paris Commune.
On 4 September 1870, during the Franco-Prussian War, Courbet made a proposal that later came back to haunt him. He wrote a letter to the Government of National Defense, proposing that the column in the Place Vendôme, erected by Napoleon I to honour the victories of the French Army, be taken down. He wrote:
<templatestyles src="Template:Blockquote/styles.css" />In as much as the Vendôme Column is a monument devoid of all artistic value, tending to perpetuate by its expression the ideas of war and conquest of the past imperial dynasty, which are reproved by a republican nation's sentiment, citizen Courbet expresses the wish that the National Defense government will authorize him to disassemble this column." Courbet proposed that the Column be moved to a more appropriate place, such as the Hotel des Invalides, a military hospital. He also wrote an open letter addressed to the German Army and to German artists, proposing that German and French cannons should be melted down and crowned with a liberty cap, and made into a new monument on Place Vendôme, dedicated to the federation of the German and French people. The Government of National Defense did nothing about his suggestion to tear down the column, but it was not forgotten.
On 18 March, in the aftermath of the French defeat in the Franco-Prussian War, a revolutionary government called the Paris Commune briefly took power in the city. Courbet played an active part and organized a Federation of Artists, which held its first meeting on 5 April in the Grand Amphitheater of the School of Medicine. Some three hundred to four hundred painters, sculptors, architects, and decorators attended. There were some famous names on the list of members, including André Gill, Honoré Daumier, Jean-Baptiste-Camille Corot, Eugène Pottier, Jules Dalou, and Édouard Manet. Manet was not in Paris during the Commune and did not attend, and Corot, who was seventy-five years old, stayed in a country house and his studio during the Commune, not taking part in the political events.
Courbet chaired the meeting and proposed that the Louvre and the Musée du Luxembourg, the two major art museums of Paris, closed during the uprising, be reopened as soon as possible and that the traditional annual exhibit called the Salon be held as in years past, but with radical differences. He proposed that the Salon should be free of any government interference or rewards to preferred artists; no medals or government commissions would be given. Furthermore, he called for the abolition of the most famous state institutions of French art; the École des Beaux-Arts, the French Academy in Rome, the French School at Athens, and the Fine Arts section of the Institute of France.
On 12 April, the Executive Committee of the Commune gave Courbet, though he was not yet officially a member of the Commune, the assignment of opening the museums and organizing the Salon. They issued the following decree at the same meeting: "The Column of the Place Vendôme will be demolished." On 16 April, special elections were held to replace more moderate members of the Commune who had resigned their seats, and Courbet was elected as a delegate for the 6th arrondissement of Paris. He was given the title of Delegate of Fine Arts, and on 21 April he was also made a member of the Commission on Education. At the meeting of the Commission on 27 April, the minutes reported that Courbet requested the demolition of the Vendôme column be carried out and that the column would be replaced by an allegorical figure representing the taking of power of the Commune on 18 March.
Nonetheless, Courbet was a dissident by nature, and he was soon in opposition with the majority of the Commune members on some of its measures. He was one of a minority of Commune Members who opposed the creation of a Committee on Public Safety, modeled on the committee of the same name which carried out the Reign of Terror during the French Revolution.
Courbet opposed the Commune on another more serious matter: the arrest of his friend Gustave Chaudey, a prominent socialist, magistrate, and journalist, whose portrait Courbet had painted. The popular Commune newspaper, "Le Père Duchesne", accused Chaudey, when he was briefly deputy mayor of the 9th arrondissement before the Commune was formed, of ordering soldiers to fire on a crowd that had surrounded the Hôtel de Ville. Courbet's opposition was of no use; on 23 May 1871, in the final days of the Commune, Chaudey was shot by a Commune firing squad. According to some sources Courbet resigned from the Commune in protest.
On 13 May, on the proposal of Courbet, the Paris house of Adolphe Thiers, the chief executive of the French government, was demolished, and his art collection confiscated. Courbet proposed that the confiscated art be given to the Louvre and other museums, but the director of the Louvre refused to accept it. On 16 May, just nine days before the fall of the Commune, in a large ceremony with military bands and photographers, the Vendôme column was pulled down and broke into pieces. Some witnesses said Courbet was there, others denied it. The following day, the Federation of Artists debated dismissing directors of the Louvre and of the Luxembourg museums, suspected by some in the Commune of having secret contacts with the French government, and appointed new heads of the museums.
According to one legend, Courbet defended the Louvre and other museums against "looting mobs", but there are no records of any such attacks on the museums. The only real threat to the Louvre came during "Bloody Week", 21–28 May 1871, when a unit of Communards, led by a Commune general, Jules Bergeret, set fire to the Tuileries Palace, next to the Louvre. The fire spread to the library of the Louvre, which was destroyed, but the efforts of museum curators and firemen saved the art gallery.
After the final suppression of the Commune by the French army on 28 May, Courbet went into hiding in the apartments of different friends. He was arrested on 7 June. At his trial before a military tribunal on 14 August, Courbet argued that he had only joined the Commune to pacify it and that he had wanted to move the Vendôme Column, not destroy it. He said he had only belonged to the Commune for a short period, and rarely attended its meetings. He was convicted, but given a lighter sentence than other Commune leaders: six months in prison and a fine of five hundred francs. Serving part of his sentence in the Sainte-Pélagie Prison in Paris, he was allowed an easel and paints, but he could not have models pose for him. He did a famous series of still-life paintings of flowers and fruit during his confinement.
Exile and death.
Courbet completed his prison sentence on 2 March 1872, but his problems caused by the destruction of the Vendôme Column were still not over. In 1873, the newly elected president of the Republic, Patrice de MacMahon, announced plans to rebuild the column, with the cost to be paid by Courbet. Unable to pay, Courbet went into a self-imposed exile in Switzerland to avoid bankruptcy. In the following years, he participated in Swiss regional and national exhibitions. Surveilled by the Swiss intelligence service, he enjoyed in the small Swiss art world the reputation as head of the "realist school" and inspired younger artists such as Auguste Baud-Bovy and Ferdinand Hodler.
Important works from this period include several paintings of trout, "hooked and bleeding from the gills", that have been interpreted as allegorical self-portraits of the exiled artist. In his final years, Courbet painted landscapes, including several scenes of water mysteriously emerging from the depths of the earth in the Jura Mountains of the France–Switzerland border. Courbet also worked on sculpture during his exile. Previously, in the early 1860s, he had produced a few sculptures, one of which – the "Fisherman of Chavots" (1862) – he donated to Ornans for a public fountain, but it was removed after Courbet's arrest.
In May 1877, the state set the final cost of reconstructing the Vendôme Column at 323,000 francs for Courbet to repay in annual installments of 10,000 francs for the next 33 years. On 31 December 1877, a day before the first installment was due, Courbet died, aged 58, in La Tour-de-Peilz, Switzerland, of a liver disease aggravated by heavy drinking.
Legacy.
Courbet was admired by many younger artists. Claude Monet included a portrait of Courbet in his own version of "Le Déjeuner sur l'herbe" from 1865–1866 (Musée d'Orsay, Paris). Courbet's particular kind of realism influenced many artists to follow, notably among them the German painters of the Leibl circle, James McNeill Whistler, and Paul Cézanne. Courbet's influence can also be seen in the work of Edward Hopper, whose "Bridge in Paris" (1906) and "Approaching a City" (1946) have been described as Freudian echoes of Courbet's "The Source of the Loue" and "The Origin of the World". His pupils included Henri Fantin-Latour, Hector Hanoteau and Olaf Isaachsen.
Courbet once wrote this in a letter:
<templatestyles src="Template:Blockquote/styles.css" />I have always lived in freedom; let me end my life free; when I am dead let this be said of me: 'He belonged to no school, to no church, to no institution, to no academy, least of all to any régime except the régime of liberty.'
Courbet and Cubism.
Two 19th-century artists prepared the way for the emergence of Cubism in the 20th century: Courbet and Cézanne. Cézanne's contributions are well-known. Courbet's importance was announced by Guillaume Apollinaire, poet-spokesperson for the Cubists. Writing in "Les Peintres Cubistes, Méditations Esthétiques" (1913) he declared, "Courbet is the father of the new painters." Jean Metzinger and Albert Gleizes often portrayed Courbet as the father of all modern art.
Both artists sought to transcend the conventional methods of rendering nature; Cézanne through a dialectical method revealing the process of seeing, Courbet by his materialism. The Cubists would combine these two approaches in developing a revolution in art.
On a formal level, Courbet wished to convey the physical characteristics of what he was painting: its density, weight, and texture. Art critic John Berger said: "No painter before Courbet was ever able to emphasize so uncompromisingly the density and weight of what he was painting." This emphasis on material reality endowed his subjects with dignity. Berger observed that the Cubist painters "were at great pains to establish the physical presence of what they were representing. And in this, they are the heirs of Courbet."
Nazi-looted art.
During the Third Reich (1933–1945) Jewish art collectors throughout Europe had their property seized as part of the Holocaust. Many artworks created by Courbet were looted by Nazis and their agents during this period and have only recently been reclaimed by the families of the previous owners.
Courbet's "La Falaise d'Etretat" was owned by the Jewish collector Marc Wolfson and his wife Erna, who both were murdered in Auschwitz. After disappearing during the Nazi occupation of France, it reappeared years later at the musée d'Orsay.
The great Hungarian Jewish collector Baron Mor Lipot Herzog owned several Courbet artworks, including "Le Chateau de Blonay (Neige)" (c. 1875, "The Chateau of Blonay (Snow)", now at the Budapest Museum of Fine Arts), and Courbet's most infamous work — ("The Origin of the World"). His was looted by Nazis and many are still missing.
Gustav Courbet's paintings "Village Girl With Goat", "The Father", and "Landscape With Rocks" were discovered in the Gurlitt Trove of art stashed in Munich. It is not known to whom they belonged.
Josephine Weinmann and her family, who were German Jews, had owned "Le Grand Pont" before they were forced to flee. The Nazi militant Herbert Schaefer acquired it and loaned it to the Yale University Art Gallery, against whom the Weinmanns filed a claim.
The French "Database of Art Objects at the Jeu de Paume (Cultural Plunder by the Einsatzstab Reichsleiter Rosenberg)" has 41 entries for Courbet.
In March 2023, a museum at the University of Cambridge, in the United Kingdom, returned a painting "La Ronde Enfantine" by Gustave Courbet, which was stolen in 1941 by the Nazis in Paris. The canvas belonged to a Jewish member of the Resistance. The Spoliation Advisory Panel, a body created in 2000 by the British government, concluded on 28 March "that the painting was stolen by the Nazi occupation forces because Robert Bing was Jewish".
References.
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Further reading.
Monographs on the art and life of Courbet have been written by Estignard (Paris, 1874), D'Ideville (Paris, 1878), Silvestre in "Les artistes français" (Paris, 1878), Isham in Van Dyke's "Modern French Masters" (New York, 1896), Meier-Graefe, "Corot and Courbet" (Leipzig, 1905), Cazier (Paris, 1906), Riat (Paris, 1906), Muther (Berlin, 1906), Robin (Paris, 1909), Benedite (Paris, 1911) and Lazár Béla (Paris, 1911). Consult also Muther, "History of Modern Painting", volume ii (London, 1896, 1907); Patoux, "Courbet" in "Les artistes célèbres" and "La vérité sur Courbet" (Paris, 1879); Le Men, "Courbet" (New York, 2008).

The Painter's Studio
Painting by Gustave Courbet
The Painter's Studio (; in full, "The Painter's Studio: A real allegory summing up seven years of my artistic and moral life") 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."
Description.
The painting was produced during Courbet's involvement with Realism in art in the mid-19th century. 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.
Left side.
The left side of the painting depicts people of everyday life in France. The Jewish man and the Irishwoman were seen on a trip Courbet took to London in 1848, according to a letter Courbet wrote to Champfleury describing what the painting would look like. There is also a "lay figure"/"crucified figure" directly to the left of Courbet's easel. This figure appears contorted and potentially mangled. Art historians Benedict Nicolson and Georges Riat both interpret this figure as a symbol of the "death" of the art of the Royal Academy of Art in France.
Center.
The center of the painting depicts Courbet painting a landscape, a nude female figure, a young boy, and a white cat. On his canvas, Courbet paints the Loue River valley. This valley in the Franche-Comté region of France is a tribute to Courbet's homeland of Ornans, France. The female figure is based on an 1854 photograph by J. V. de Villeneuve and has been interpreted as a representation of the art of the Academy or as Courbet's Muse for Realism.
Right side.
The right side of the painting depicts a large number of Paris "élites", including friends of the artist. These are figures who played a role in the development of Courbet's career as an artist, or who inspired him in some way. Portrayals included on this side of the painting include Alfred Bruyas (a patron of Courbet's), Champfleury, Pierre-Joseph Proudhon, Charles Baudelaire, and a wealthy pair of art collectors, among other prominent society figures. A majority of these portraits were copied from previous portraits or from photographs, since the painting was entirely made in Ornans but the subjects on this side of the painting resided in Paris. For example, the portrait of Charles Baudelaire was directly copied from Courbet's 1847 portrait of the writer. Courbet was in written correspondence with Champfleury in regards to this painting (from which much of the interpretation of "The Painter's Studio" is derived) and requested a photograph of Proudhon, the philosopher and anarchist, so that he could be included in the painting. It is the photograph Courbet received from Champfleury on which Proudhon's portrait is based.
References.
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Patrick Painter
Patrick Painter (born Patrick Lee Painter, April 27, 1954, Long Beach, California), is an Irish-American art dealer who runs Patrick Painter Inc., which includes two art galleries in Bergamot Station, Santa Monica, California; he also owns Patrick Painter Editions.
Painter was mentored by art dealer Leo Castelli and curator Walter Hopps. In 1991, he began Patrick Painter Editions in Vancouver, British Columbia, Canada and Hong Kong, with his first edition (of three) being two prints by Roy Arden. The next year, he made editions for Richard Prince, Larry Johnson, and Jeff Wall, among others. Since its inception, Patrick Painter Editions has made small editions of works by John Baldessari, Mike Kelley, Ed Ruscha, Paul McCarthy, Anish Kapoor, Peter Doig, Richard Hawkins, Glenn Brown, Andrea Zittel, Christopher Wool, Collier Schorr, Harmony Korine, Douglas Huebler, Felix Gonzalez-Torres, Art & Language and John Miller. Although Patrick Painter Editions was established in a depressed market, he managed to build his business upon the success he had turning editions. Fine art prints, or multiple editions, were looked down upon at the time by many critics and collectors; Painter created a unique approach to the market. In 1996, twenty galleries in several countries had shows of exclusively Patrick Painter Editions.
Painter opened Patrick Painter Inc., an art gallery in Santa Monica, CA, in 1997 with the backing and support of Mike Kelley and Paul McCarthy, while continuing to maintain his fine art editions activities. Today, Patrick Painter Inc. represents and shows work by both new and established artists including David Onri Anderson, Stephan Balleux, Georg Baselitz, Tim Berresheim, Glenn Brown, André Butzer, Greg Colson, Liz Craft, Valie Export, Bernard Frize, Francesca Gabbiani, Chaz Guest, Salomón Huerta, Jörg Immendorff, Larry Johnson, Mike Kelley, Won Ju Lim, John Miller, John Newsom, Albert Oehlen, Philippe Pasqua, Peter Saul, Mattias Schaufler, Christoph Schmidberger, Jim Shaw, Melanie Smith, Meyer Vaisman, Marnie Weber, Toby Ziegler, and Thomas Zipp, as well as the estate of Bas Jan Ader.
Notes and references.
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Painter (comics)
The Painter (Wilhelm van Vile) is a supervillain appearing in American comic books published by Marvel Comics. The character was created by plotter Stan Lee, writer Robert Bernstein, and artist Jack Kirby, and first appeared in "Strange Tales" #108 (1963).
Publication history.
The Painter's premiere in "Strange Tales" #108 (May 1963) was a collaboration between editor and story-plotter Stan Lee, script-writer Robert Bernstein, and story-artist Jack Kirby, with inking done by Dick Ayers and Terry Szenics in charge of lettering. The story is republished in "Human Torch" #8 (November 1975). The character is re-imagined by Pierce Askegren in his 1996 work "The Ultimate Super-Villains", edited by Lee and published by Byron Preiss.
Fictional character biography.
Origins.
Manhattan-based Wilhelm van Vile, an aspiring painter, attempts to pass off counterfeit paintings as the real deal. However, he makes many obvious mistakes when producing these fake works (such as coloring the boy in "The Blue Boy" green). Van Vile is promptly sent to jail.
1960s.
After being released, van Vile embarks on a cash-counterfeiting career but he once again does not heed major details. Johnny Storm easily spots his mistakes and throws him back into prison. Tunneling through a crevice in his prison cell's flooring, he finds an underground sanctuary, in which are mystical paints left behind by extraterrestrials. Van Vile discovers that whatever he creates with these paints will come to life. Forming an alliance with a number of small-time criminals, including Scar Tobin, van Vile adopts the "nom de guerre" of The Painter of 1000 Perils, or The Painter in short. He then exploits his new-found powers to exact revenge against Johnny Storm.
Storm initially struggles to match the Painter's attacks. However, he later outsmarts the Painter by producing a double of himself, which the villain assumes is the real one. The real Storm takes the opportunity to destroy the Painter's magical paints.
Return and death.
The Painter regains his supervillain abilities some time later and comes under the influence of a multitude of insects which inhabit his body. Using unspecified means, he takes over the wills of Bora and Spark and sends them to antagonise Spider-Man and Johnny Storm respectively. Collaboratively, he, Spark and Bora comprise "Avant Guard", a supervillain team. When they lose and the situation goes stale, the Painter turns the two mutants into portraits and apparently kills himself by means of bodily explosion.
Resurrection.
Somehow the Painter is revived (or it could be presumed that it was a double who died previously), and he is seen imprisoned in a supervillain detainment facility, among numerous other foes who go against Spider-Man after being freed from their cells. Dressing up as Morlun, the Painter is swiftly defeated without much challenge.
Powers and abilities.
Strictly speaking, the Painter does not possess any superpowers, though he is a considerably skilled artist, citing himself as the "greatest painter on Earth". His enchanted paint allows him to paint inanimate matter to life at superhuman speeds, and erase them if he desires so.
Other versions.
"The Ultimate Super-Villains".
Having spent many years behind bars, the Pierce Askegren version of the Painter decides to turn over a new leaf and finds a job as a professional illustrator. He is confronted by an aged Scar Tobin, who demands that the Painter surrender his sorcerous paints. The Painter does not relent and fights back with many of his doubles. It is later revealed that the Painter has not forsaken his criminal life, but instead has been keeping a low profile.
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Graphicstudio
Art studio, printing press workshop
Graphicstudio is an art studio and print workshop at the University of South Florida in Tampa, Florida, established in 1968 by Donald Saff.
The studio was closed from 1976 through 1981 for financial reasons.
Graphicstudio with the Contemporary Art Museum and the Public Art Program form the Institute for Research in Art in the College of The Arts at the University of South Florida. With the support of then president Cecil Mackey, Saff modeled Graphicstudio after the Pratt Graphics Center, Tamarind Press, and Gemini G.E.L. The studio produced its earliest work in 1969.
The National Gallery of Art houses the Graphicstudio archive.
Artists.
Philip Pearlstein was the first artist to participate at Graphicstudio. James Rosenquist started with Graphicstudio in 1971. Richard Anuszkiewicz, Adja Yunkers, Robert Rauschenberg, and Jim Dine were also involved with Graphicstudio in the 1970s. Other artists associated with Graphicstudio over the years include Edward Ruscha, Chuck Close, Robert Mapplethorpe, Miriam Schapiro, Roy Lichtenstein, Nancy Graves, Allan McCollum, Christian Marclay, Theo Wujcik, and Vik Muniz.

Painter (band)
Painter was a Canadian rock band formed in 1970 in Calgary.
Band history.
Painter experienced a number of personnel changes. Their big hit "West Coast Woman", from the album "Painter", was released in 1973. Other bands that came out of Painter include Hammersmith, 451 and Prototype.
Amongst their various alumni are a number of recording engineers. QSound was developed by Dan Lowe after experimenting in a recording session that involved multiple microphones set up around a studio. The technology was used on recordings in the 80s by Pink Floyd, Sting, Madonna and other noted artists and is currently being used in cellphones.
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Painter's Folly
Historic house in Pennsylvania, United States
Painter's Folly is an Italianate historic house located in Chadds Ford, Pennsylvania. Purchased by the township in 2018 with the intention of preserving it and turning into a museum, the house was listed on the National Register of Historic Places in 2024.
Description and history.
Painter's Folly was built by a wealthy local farmer named Samuel Painter in 1856, soon after he returned from travels in Europe. The house's ornate Italianate design inspired neighbors to brand it "Painter's Folly." The three-story house spans 58,000 square feet and sits on a four-acre property adjoining the Brandywine Battlefield.
Painter's nephew, Howard Pyle, rented the house as a summer residence, where for years he hosted Brandywine School artists' gatherings and mentored artists, including N. C. Wyeth. Wyeth's son, Andrew Wyeth, later depicted the house in several of his paintings, including "Painter's Folly" (1989) and "Widow's Walk" (1990).
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Day of the Painter
1960 film
Day of the Painter is a 1960 American short film directed by Robert P. Davis. It was filmed at Mamaroneck Harbor in Mamaroneck, NY.
Plot and critical response.
"Time" magazine:
An extremely funny 15-minute film, may be taken as a solemn leg-pull of the recent vogue for dribble-and-splotch painters, those athletic canvas-coverers whose style owes less to Van Gogh's brush technique than to Stan Laurel's custard pie stance. Or it may be taken as an explicit set of instructions for getting rich.
The film, a first-time effort by three ex-admen, begins with a loving shot of wharfs, fishing shacks and sounding sea-the sort of vista once sketched avidly by artists and now appreciated chiefly by retired couples who tour Cape Cod in late September. The artist is a burly fellow (Ezra Reuben Baker), recognizably aesthetic in paint-smeared dungarees, scurrilous red sweater and combat boots. He trundles a cart filled with paint buckets along a dock, then throws an enormous sheet of wallboard down on a mud flat ten feet below.
Soberly, with exquisite skill, using first a vigorous forehand, then a precisely executed backhand, the painter slops color from buckets. Clearly he is a master, for his stroke with the long-handled hoe is sure and strong, his touch with the dribble-stick more than Japanese in its delicacy. And when he fills a flare pistol with paint and fires the last accent of orange at his abstraction, he does not pull the trigger. He squeezes.
When the thing dries, he hacks it up in random rectangles with a power saw, then carefully signs each fragment. A seaplane, labeled "Galerie des Abstracts, Paris-New York," touches down. A man debarks whose rich, dark overcoat obviously proclaims him an art dealer. He strokes his jaw as he examines the paintings, eventually selects a small one, shakes hands with the painter and takes off. Pleased with himself, the painter matter-of-factly shoves the remaining works of art into the ocean. This, as the screen truly proclaims, is the end.
"New York Herald Tribune":
A hilarious good - natured spoof of abstract-expressionist painting has been made the subject of a colored film-short called "Day of the Painter." ...Without sound or sub-titles (except for a delightful musical score somewhat reminiscent of that which accompanied the Alex Guinness film, "The Horse's Mouth") the film begins with the artist's awakening in a crumbling shack on a rickety pier reaching out over a picturesque stream. His "Wall Street Journal" is delivered by boat, and, having ascertained that his investments are doing well, he loads a wheelbarrow with assorted cans of paint, long sticks, and a spray gun, has two helpers carry his enormous blank canvas, and sets off to his muddy "studio" by the side of the stream. All day long he flings, scatters, shoots, pushes paint all over his canvas and himself. The picture grows, and, actually, turns out to be quite handsome-in the Jackson Pollock manner, of course, but attractive for all it imitativeness. Sea gulls and swans waddle by, their expressions rather suggesting that of critics.
At last the painter is finished, carefully studies his work-and then proceeds to cut the enormous canvas up into pieces.
At the end of the day a small seaplane comes by, docks alongside the pier, while the passenger-pilot, looking like any 57th St. dealer you care to name, surveys the day's work. He examines carefully, he ponders, and he finally selects one small segment of the canvas, places it in the plane, and takes off.
The painter takes all the other pieces, tosses them into the stream, and they float away with the gulls and swans, not unlike the unforgettable Gulley Jimson, in "The Horse's Mouth," floating gallantly out to sea in his battered tugboat.
Audiences, apparently, are enjoying the film-except for a group the other night who were plainly pro-abstract-expressionism, and hissed when the rest of the house applauded. None of it was ill-natured, however, probably because the abstract-expressionism picture being kidded looks so agreeable.
Awards.
"Day of the Painter" won an Oscar at the 33rd Academy Awards in 1961 for Best Short Subject.
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John Mark Painter
American songwriter
John Mark Painter (born c. October 6 1967) is an American multi-instrumental musician, composer and arranger. He is best known for his role, with his wife, singer Fleming McWilliams, in the rock duo Fleming and John.
Painter grew up in Miami, and began playing trumpet, saxophone, bass, guitar and piano by age 11.
Painter met McWilliams while attending Belmont College in Nashville, and immediately began collaborating on songs. While pursuing a record contract, Painter began playing studio sessions for artists like Indigo Girls, Nanci Griffith and Jewel.
Fleming and John released its first album, "Delusions of Grandeur", in 1995 for independent label R.E.X. Records, then Universal Records. Their second album, "The Way We Are" in 1999 notably showcased Painter's skills as arranger and as instrumentalist on a panoply of uncommon instruments.
Painter continues to work heavily in the Nashville area as a studio musician, performing on albums by Carolyn Arends, Ben Folds Five, Fear of Pop, Owsley, Rich Creamy Paint (Rich Painter, who is John Mark Painter's nephew), Sixpence None the Richer, Gabe Dixon Band, Sevendust, Jon Foreman, Frally Folds and others.
Also producing artist such as Shapiro, Pantana, and Alva Leigh for Dweeb Records at IHOF Studio.
Painter was the composer for the 2005 animated film "Hoodwinked", the 2006 film "The Second Chance" starring Michael W. Smith, and the VeggieTales DVD "The Wonderful Wizard of Ha's".
He is currently a member of the alternative rock band Steve Taylor & The Perfect Foil with Steve Taylor, Jimmy Abegg and Peter Furler. Their first album, "Goliath" was released in November 2014.
References.
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The Painter (2024 film)
Film by Kiamni Ray Smith
The Painter is a 2024 American action thriller film directed by Kimani Ray Smith and written by Brian Buccellato. It stars Charlie Weber, Jon Voight, Marie Avgeropoulos, and Madison Bailey.
"The Painter" was released in the United States on January 5, 2024.
Plot.
A retired CIA agent paints as a hobby. But his past has come back to haunt him, as a mysterious woman he met somewhere shows up. He must find the way to evade the incoming threat in forms of some trained op recruits.
Cast.
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Production.
Principal photography took place in Vancouver from November 28 to December 20, 2022.
In late November 2023, it was reported that Republic Pictures had acquired the rights to "The Painter", directed by Kimani Ray Smith from SP Media Group for Republic Pictures.
Release.
"The Painter" had a limited release in the United States on January 5, 2024. It was released on digital platforms on January 9.
Reception.
On the review aggregator website Rotten Tomatoes, of 10 critics' reviews are positive, with an average rating of 3.6/10.
Dennis Harvey of "Variety" wrote, ""The Painter" never seems like more than a rote shoot-'em-up inadequately juiced by the kind of shocking revelations that are all contrived verbal explication".
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Port Jackson Painter
The Port Jackson Painter was one or more unknown watercolour artists working in Sydney, Australia, from 1788 through to the 1790s. The paintings are of plants, animals and life in Sydney. Many believe that they were the naval officers of the time who had both the time and the training to paint the new environment around them.
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Paint by number
A painting made by filling the numbers provided on the canvas.
Paint by number or painting by numbers kits are self-contained painting sets, designed to facilitate painting a pre-designed image. They generally include brushes, tubs of paint with numbered labels, and a canvas printed with borders and numbers. The user selects the color corresponding to one of the numbers then uses it to fill in a delineated section of the canvas, in a manner similar to a coloring book.
The kits were invented, developed and marketed in 1950 by Max S. Klein, an engineer and owner of the Palmer Paint Company in Detroit, Michigan, United States, and Dan Robbins, a commercial artist. When Palmer Paint introduced crayons to consumers, they also posted images online for a "Crayon by Number" version.
History.
The first patent for the paint-by-number technique was filed in 1923.
Paint by Number in its popular form was created by the Palmer Show Card Paint Company. The owner of the company approached employee Dan Robbins with the idea for the project. After several iterations of the product, the company in 1951 introduced the Craft Master brand, which went on to sell over 12 million kits. This public response induced other companies to produce their own versions of painting by number. The Craft Master paint kit box tops proclaimed, "A BEAUTIFUL OIL PAINTING THE FIRST TIME YOU TRY."
Following the death of Max Klein in 1993, his daughter Jacquelyn Schiffman donated the Palmer Paint Co. archives to the Smithsonian Museum of American History. The archival materials have been placed in the museum's Archives Center where they have been designated collection #544, the "Paint by Number Collection".
In 1992, Michael O'Donoghue and Trey Speegle organized and mounted a show of O'Donoghue's paint-by-number collection in New York City at the Bridgewater/Lustberg Gallery. After O'Donoghue's death in 1994, the Smithsonian Institution's National Museum of American History exhibited many key pieces from O'Donoghue's collection, now owned by Speegle, along with works from other collectors in 2001.
In 2008, a private collector in Massachusetts assembled over 6,000 paint-by-number works dating back to the 1950s from eBay and other American collectors to create the Paint By Number Museum, the world's largest online archive of paint-by-number works. In 2011, the Museum of Modern Art in New York accepted four early designs of paint by number by Max Klein for its Department of Architecture and Design, donated by Jacquelyn Schiffman.
In May 2011, Dan Robbins and Palmer Paint Products, Inc., together developed and brought to market a new 60th-anniversary paint-by-number set. This collectors set was created in memory of the survivors and those who had lost their lives on September 11, 2001, and depicts the Twin Towers standing in spirit across the Manhattan skyline.
On April 1, 2019, Dan Robbins died in Sylvania, Ohio, at the age of 93.
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Walter S. Painter
American architect
Walter Scott Painter (15 February 1877 – 22 February 1957) was an American architect who is chiefly noted for his work with the Canadian Pacific Railway as its chief architect. Painter's most significant works include the redesigned Banff Springs Hotel, the Cave and Basin Hot Springs bathhouse in Banff, Alberta and a series of railroad stations and hotels for the Canadian Pacific. In later life Painter worked with school designs in Chile, and promoted a system of prefabricated concrete houses.
Painter began his practice as a theater architect. Painter was chief designer with Canadian Pacific from 1906 to 1913. A partnership with Canadian architect Francis S. Swales lasted two years, from 1911-1912. Painter built a house at 533 Buffalo Street in Banff in 1913, close to the railroad and the Banff Springs Hotel, which has been preserved as a community arts centre.
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The Painter (1982 film)
1982 film
The Painter () is a 1982 Swedish film directed by Göran du Rées and Christina Olofson. It was entered into the 13th Moscow International Film Festival.
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Gary Lord (artist)
American painter
Gary Lord (born 1952) is a Cincinnati, Ohio-based faux painting artist and teacher. He owns a decorative painting business, Gary Lord Wall Options and Associates Inc, and is the founder of Prismatic Painting Studio and ItsFauxEasy.com, a video-based faux painting teaching site. He has been teaching faux painting techniques for over 25 years via seminars, DVDs, the Internet, and best-selling books. He has also appeared on hundreds of television segments demonstrating faux painting and decorating techniques. From 2002 - 2013 Gary's work has won a total of nine National 1st Place Awards for Best Faux Finisher of the Year by the Painting and Decorating Contractors of America and by the American Painting Contractor. He also was named to the top spot by American Painting Contractor for Who's Who in Decorative Painting in America in 2007.
Author.
He has written five books "It's Faux Easy", "Mural Painting" "Secrets for Success", "Great Paint Finishes For a Gorgeous Home", and "Marvelous Murals You Can Paint". Simply Creative Faux Finishes.
He is a regular contributor to several national and trade faux painting publications including "The Faux Finisher", "The Decorative Painter", "Profiles in Faux", "American Painting Contractor", "Faux Effects World", "P.W.C.", "Paint Pro", "Artistic Stenciler", "The Artist Magazine", "Artisphere", and "Architectural Living".
Television appearances.
Lord is a regular guest on HGTV's "Decorating With Style" and has appeared on PBS's "Paint Paint Paint", Discovery Channel's "Christopher Lowell Show", "D.I.Y.", "Around the House", "Home Works", and "The Carol Duvall Show", as well as many local shows/segments featuring faux painting.
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The Painter (play)
The Painter is a 2011 play by the British writer Rebecca Lenkiewicz on the life and relationships of J. M. W. Turner. It premiered at the Arcola Theatre in London in January 2011 to mark its move to new premises. The premiere cast included Toby Jones as Turner, Denise Gough as Turner's model Jenny Cole, Amanda Boxer as Turner's mother and Niamh Cusack as his mistress Sarah Danby.
References.
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Leisure Painter magazine
Leisure Painter is a learn-to-paint magazine, first published in 1967. It is published monthly by Warners Group Publications, based in Bourne, Lincolnshire, and costs £5.25 from newsagents, supermarkets and art shops. The magazine's editor is Ingrid Lyon.
"Leisure Painter" magazine gives step-by-step tuition to beginners and amateur painters, as well as advice on drawing and painting. Art tutors - including David Bellamy, Pamela Kay and Tony Paul - set projects, describe their working methods, and offer tips and hints for readers.
The magazine's articles include practical instruction on drawing and painting in different media; competitions and special offers; monthly critiques of readers' work; questions from readers answered; reports by art tutors on art materials, products, books and DVDs; updates on open competitions, exhibitions and art-related events; and workshops and holidays in the UK and abroad tutored by professional artists.
The magazine's website, PaintersOnline, was launched in September 2007. PaintersOnline is an online community, including a forum for sharing experiences and advice; blogs; a gallery to upload images of visitors’ drawings and paintings; and a searchable database of art clubs and art tutors.
References.
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Stetson Painter
American politician
Stetson Painter is an American politician who has served as a member of the Arkansas House of Representatives since January 9, 2023. He represents Arkansas' 3rd House district.
Electoral history.
He was elected on November 8, 2022, in the 2022 Arkansas House of Representatives election against Libertarian opponent Steven Gene Parsons. He assumed office on January 9, 2023.
Biography.
Painter obtained a Bachelor's degree in criminology in 2013 and a Master's degree in public administration in 2016 from Arkansas State University. He was also a Congressional staffer for Congressman Rick Crawford. He also served in the United States Army Reserve. He is a Born again Baptist.
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The Studio (commune)
Artists' studio in New York City
The Studio was the name of a small artists' loft commune formed in 1975 by four comic book artists/commercial illustrators/painters in Manhattan's Chelsea district. These artists were Barry Windsor-Smith, Jeff Jones, Michael Kaluta, and Bernie Wrightson — known colloquially as the "Fab Four". The purpose of The Studio was to provide the group with a space where they could pursue creative products outside the constraints of comic book commercialism.
The studio space was a converted machine shop with high ceilings.
Industry journalist Tom Spurgeon commented on the broader significance and influence of The Studio in his 2011 obituary of Jones at "The Comics Reporter":
The legacy of that much talent doing what was collectively very good work at a point of almost monolithic and degrading corporate influence over the kind of art they wanted to do has provided The Studio with a legacy that can be embraced even by those that didn't particularly care for the artists' output. The idea of a dedicated workplace that would allow for coercive influence one artist to another has been carried over into very nearly ever cartoonists' collective space initiative since.
By 1979, the "Fab Four" had produced enough material to issue an art book under the name "The Studio", which was published by Dragon's Dream. That same year the members of The Studio moved on to independent projects and separate work spaces.
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Tom Palin
British painter
Tom Palin is a British painter.
Education.
Palin grew up in Birkenhead, Merseyside, England. He graduated from Liverpool John Moores University with a BA (Hons) in Fine Art, and from the University of Manchester with an MA in Art History. He completed a PhD in Painting at the Royal College of Art.
Painting.
Tom Palin's work consists, for the most part, of small scale oil paintings. These explore the boundaries between abstraction and figuration and combine an interest in the iconography of the everyday and of the romantic with a concern for the material surface of paint and the passing of time. His work appears as muted, painterly and, in narrative terms, ambiguous. He cites Maurice Utrillo as a major influence. His work can be found in The University of Liverpool's Art Collection. Tom Palin is included in The Dictionary of Artists in Britain since 1945 (David Buckman, 2006).
He has exhibited his work in a number of solo and collaborative exhibitions, including solo shows at: Leeds Arts University, (Leeds 2018 and 2010), The Central Gallery (Ashton-under-Lyne, 2010), View 2 Gallery (Liverpool, 2008), Dean Clough (Halifax, 2005) and at The Atkinson Art Gallery and Library, (Southport, 2004).
Palin teaches painting at the Royal College of Art and the Open College of the Arts. He has written about medium specificity, abstract art and the work of Maurice Utrillo.
Awards.
Tom Palin has been the recipient of the British Institution Award, Royal Academy Summer Exhibition, Burlington House, London, 2015, the Gilchrist-Fisher Memorial Award for Landscape Painters (Rebecca Hossack Gallery, 2004), and the Hunting Art Prize Young Artist of the Year Award (Royal College of Art, 2000).
Residencies.
He held The Feiweles Trust Bursary Award in 2002 which saw the completion of 100 art workshops in the West Yorkshire region and culminated in the exhibition Pride of Place: A Painter's Perspective, at the Yorkshire Sculpture Park.
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Christopher Painter
British composer
Christopher Painter is a composer who was born at Port Talbot, South Wales in 1962 and studied music at University College, Cardiff. His composition studies were initially with Timothy Taylor and Richard Elfyn Jones and in 1984 he began to study with Alun Hoddinott.
Studies.
He studied full-time with Hoddinott until 1989 and complemented these studies with consultations and masterclasses with Samuel Adler (Eastman School of Music, New York); George Benjamin; John McCabe (London College of Music); Edward Gregson (Royal Northern College of Music); Robert Saxton (Worcester College, Oxford); Robert Simpson and Marek Stachowski (Warsaw University). In addition to his composition studies, Christopher also studied brass band conducting with Edward Gregson; choral conducting with Stanley Saunders (University of Guelph, Canada) and Rod Walker (University of Texas, USA) and latterly, orchestral conducting with Christopher Adey.
Awards.
Christopher Painter was the first recipient of the "Afan Thomas Composer's Award" and has also won the "National Eisteddfod Composition Prize" (Newport 1988) and was featured in the "Welsh Arts Council's Young Welsh Composer Forum" in 1987. In 1997, he was the first Welsh winner of the "Gregynog Composer Award of Wales" which was given for his "Sonata for Harp" which was premièred on 28 June at the 1997 Gregynog Festival.
Career.
Appointed as Composer-in-Association with North Wales based "Ensemble Cymru" in October 1997, Painter wrote a number of works for this ensemble, including the children's dance work, "Yggdrasil", a Millennium Commission/Techniquest commission as part of the Sounds for Science education project.
In 1999 Christopher Painter was Composer-in-Residence with both the National Youth Orchestra of Wales and National Youth Brass Band of Wales. His work, "Invisible Cities", for the National Youth Orchestra of Wales, not only received performances around the UK but was also subsequently released on CD by the orchestra.
In 2001 Painter began to teach in the composition department at the Royal Welsh College of Music & Drama where he has specialised in teaching counterpoint, harmony, music typesetting and orchestration to postgraduate composition students.
The Royal Society of Arts awarded Christopher Painter a Fellowship in December 2003.
In August 2005, Christopher Painter won the prestigious "Tlws y Cerddor (Musicians Medal)" at the National Eisteddfod of Wales for his chamber work, "Yr Hanes Swynol (A History of Charms)". He won the award for a second time in 2010 for "Syniadau’r Serch (Thoughts on Love)", a cycle of songs for baritone, violin and harp.
Between Autumn 2005 and Spring 2006 Painter was Composer-in-Residence with the "Thueringen Philharmonie" in Gotha, Germany. Here he worked closely with Welsh conductor Alun Francis, a long-time champion of his music, and his tenure ended with the première of a major work for the orchestra, "Forest of Dreams", which received two performances and was broadcast on German television. The work subsequently received its UK première with the BBC National Orchestra of Wales, under the direction of Jac van Steen, in April 2009.
In 2010, the "Lunar Saxophone Quartet" premièred his "Lunar Seas" on their These Visions tour and the work was released on Signum Classics. This followed an earlier recording, also on Signum, of his "Sonata for Alto Saxophone", commissioned by Welsh saxophonist, Lara James.
In 2006, his "Symphony No.3 - Fire in the Snow" received its première in Mexico City where it was twice performed by the Orchestra Filharmonico de la UNAM under the direction of Alun Francis. The second performance was broadcast live on Mexican national television to an estimated audience in excess of one million people.
In March 2011, "Furnace of Colours" was premièred by the BBC National Orchestra of Wales and soprano Claire Booth, conducted by Jac van Steen, and broadcast on BBC Radio 3.
More recent works include "Hanes Taliesin (Taliesin’s Tale)" for solo clarinet and dancer; "Images in the Mist" for the Richards String Quartet and "The Gregynog Suite" for solo harp, commissioned by the Gregynog Festival and premièred by Catrin Finch.
Christopher Painter’s works are published by Arcomis Publishing; Maecenas Music; Oriana Publications and Vanderbeek & Imrie

Mort Künstler
American artist (1927–2025)
Morton Künstler (August 28, 1927 – February 2, 2025) was an American artist known for his illustrative paintings of historical events, especially of the American Civil War. He was a child prodigy, who, with encouragement from his parents, became a skilled artist by the time he was twelve. Today he is considered the "best-known and most respected historical artist in the country."
Künstler began his career in the 1950s as a freelance artist, illustrating paperback book covers and men's adventure magazines. In 1965 he was commissioned by "National Geographic" to create what became his first historic painting. He also created posters for movies such as "The Poseidon Adventure" and "The Taking of Pelham One Two Three." And by the 1970s he was painting covers for "Newsweek," "Reader's Digest," and other magazines, with the bulk of his work during that period in advertising art.
While many of his early magazine illustrations were for public entertainment, Künstler eventually began creating military art. In 1977, his first major gallery exhibition brought new attention to his talents as a historical artist. By the 1980s he was acclaimed as America's foremost Civil War artist, and would eventually create over 350 Civil War paintings alone. Some of his paintings have changed opinions about the accuracy of early famous paintings by others, such as Emmanuel Leutze's famous "Washington Crossing the Delaware". Besides his Civil War paintings, he created historical art of the American Revolution through the Korean and Vietnam wars, along with paintings of World War II. He painted historical events such as the Oklahoma Land Rush and new immigrants on Ellis Island.
Collections of Künstler's work are published as limited-edition prints, and his artistic output places him at the forefront of contemporary historical realism. NASA made him their official artist for the Space Shuttle "Columbia". In 1982, CBS-TV had him do a