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(41.) See Courbet's description of the painting while it was in progress (letter to Champfleury, November-December 1854), in Gustave Courbet, Letters of Gustave Courbet, ed.
Champfleury's text in "L'Homme aux figures de cire" varies widely, at times committed to the exactitude of scientific or historical observation and yet at other times crossing into fantasy/fiction, making the wax figures into real people/characters with imagined life stories and personalities.
O texto que segue, e que gostaria de propor como reflexao sobre a concepcao de realismo de Courbet, assim como sobre sua importancia para a literatura e as artes, e uma carta que o critico e amigo do pintor, Jules Champfleury, escreve a Georges Sand em 1855.
Each of the famous paintings generated whole portfolios of spoofs, a good many of which called into question (not always groundlessly) his ability to paint at all: Champfleury complained of the common view that Courbet studied painting while minding hogs.
After an interrupted education, Champfleury went to Paris and lived a bohemian existence in a literary group that included the poet Charles Baudelaire.
Louise de Champfleury; music, Jean Dindinaud, Nicolas Neidhardt; production design, Emmanuelle Duplay; sound, Jerome Thiault.
Geoffroy Tory's Champfleury of 1529 presented a stable set of Roman characters designed to demonstrate the perfect analogy of writing to the human body and to the cosmos.
Neanmoins, ce n'est qu'apres 1850 que le realisme en tant que doctrine et esthetique va s'imposer avec les peintres Honore Daumier, Jean-Francois Millet et surtout Gustave Courbet d'une part, et avec les ecrivains Champfleury, Duranty et Murger, d'autre part.
Like many of his French contemporaries, he was virtually forgotten after his death, to be suddenly and rapidly acclaimed once again, when he was rediscovered in the mid-1840s by critics such as Champfleury, Theophile Gautier, and Thore-Burger (who was also instrumental in reclaiming Vermeer after his long eclipse).