Art History News

Tuesday, July 28, 2026

German Expressionism: Modern Painting 1900–1918

National Gallery, London

20 March – 1 August 2027

National Gallery of Ireland

9 September 2027 – 9 January 2028

As its collection expands into the 20th century and beyond, the National Gallery stages its first exhibition of modern paintings from Germany – and its first devoted to an artistic movement after 1900.

Following its run in London in spring 2027, the exhibition will travel to the National Gallery of Ireland in Dublin and opens in autumn 2027.

German Expressionism: Modern Painting 1900–1918 is the first exhibition in the UK and Ireland since the 1960s to chart the work of both of the movement’s pivotal groups Die Brücke (The Bridge) and Der Blaue Reiter (The Blue Rider) – who were active from 1900 until the end of the First World War. Made up of radical, freethinking artists working across Berlin, Dresden, Munich and elsewhere, these collectives experimented with form and brushwork to break new ground in 20th-century painting.

With loans from some of Germany’s most prestigious modern art collections, such as Berlin’s Neue Nationalgalerie and Brücke Museum and the Museum für Kunst und Gewerbe, Hamburg, the exhibition explores an alternative history of Modernism, to the predominantly French focus of the National Gallery’s current post-1800 collection.

While the featured artists Wassily Kandinsky (1866–1944), Gabriele Münter (1877–1962), Franz Marc (1880–1916) and Ernst Ludwig Kirchner (1880–1938), worked across many media, the exhibition celebrates the remarkable achievements of these artists in painting – the electrifying colours, energetic brushstrokes, and formal fragmentation that opened the doors to Abstraction.

Working in parallel in different regions of Germany, Die Brücke and Der Blaue Reiter sought to free painting from naturalistic constraints and express an intensity of individual experience on the canvas.

Die Brücke was formed in Dresden by a group of young, self-taught artists including Kirchner, Erich Heckel (18831–970) and Karl Schmidt-Rottluff (1884–1976). Rebelling against conservative social codes, they lived and worked together in the bohemian corners of Dresden before moving to Berlin’s rapidly modernising centre. Die Brücke painted with an eruptive emotional force; colour became a live current and a deliberate defiance of academic traditions and brushwork, a form of liberation.

Der Blaue Reiter assembled in Munich around the close creative partnerships of painters Kandinsky and Münter, as well as Marianne von Werefkin (1860–1938) and Alexei Jawlensky (1864–1941). Kandinsky, Werefkin and Jawlensky were Russian émigrés drawn to Germany’s progressive art scene, where they cultivated a spiritual ethos of painterly expression. Joined by young artists like Marc and August Macke (1887–1914), they divided their time between metropolitan Munich and the luminous landscape around rural Murnau, where the lakes and mountains fed their bold, folkloric colours and semi-abstracted use of forms.

The outbreak of the First World War curbed the utopian ideals of Die Brücke and Der Blaue Reiter, as artists fled Germany or were drafted into the military. While their charged and distorted style ensured a strong legacy in 20th-century art, their work remains under-represented in British and Irish collections. 'German Expressionism: Modern Painting 1900–1918' gathers over fifty international loans, rarely seen in the UK and Ireland, to give a comprehensive introduction to this transformative moment in modern painting.

Pictures come from private collections and museums worldwide including the National Gallery of Ireland; National Galleries of Scotland; Tate; The Art Institute of Chicago; Museum Wiesbaden; Kunstpalast Dusseldorf; Moderna Museet, Stockholm; Leicester Museum and Art Gallery; Von der Heydt Museum, Wuppertal; the Ashmolean Museum, Oxford; and Allen Memorial Art Museum.

Sean Rainbird, co-curator, says: ‘A critic first used the term ‘Expressionism’ before the First World War to describe modern painting from France and Germany. He also predicted the term would, in the future, be most closely associated with art from Germany. There were several pre-eminent individual Expressionist artists from Germany and Austria, but some of the best known belonged to two now-famous groups. This exhibition is the first time for many decades that both – called the Brücke and Blue Rider – have been combined for an exhibition in Britain and Ireland. It offers a unique opportunity for visitors to experience the artists' bold colours, formal innovations, spiritual aspirations and strength of individual expression, boldly extending the current parameters of the National Gallery’s displays into the early 20th century.’

Daniel F. Herrmann, co-curator, says: ‘The early 20th century became a crucible for new ways of seeing the world. Modern life brought the rise of modern painting, created by visionary artists who upended old rules with an urgency and defiance that still inspires painters today. Snuffed out by the First World War and rarely seen in Britain, German Expressionism was a daring chapter in the history of art. We can't wait to introduce this important moment in painting to our visitors in London and Dublin.’

Dr Caroline Campbell, Director of the National Gallery of Ireland, says: ‘We are delighted to embark on this new partnership with the National Gallery, London, as we work together to present a thoughtful exploration of German Expressionism across our islands. Our partnership offers an important opportunity to share our collections and expertise, broaden perspectives, and deepen public engagement with a dynamic artistic moment that resonates across the generations. We look forward to welcoming audiences to the exhibition and thank our colleagues in the Irish Government and UK Government for their support through the UK-Ireland Cultural Co-Operation Programme.’

The exhibition is at the National Gallery, London (20 March – 1 August 2027) and the National Gallery of Ireland (9 September 2027 – 9 January 2028).

The curators are Sean Rainbird, a British art historian and former director of the National Gallery of Ireland and Staatsgalerie Stuttgart; and Daniel F. Herrmann, Ardalan Curator of Modern and Contemporary Projects at the National Gallery.

IMAGES

Max Pechstein 1881 – 1955

The Yellow and Black Jersey. 1910

Oil on canvas

68.9 x 78 cm

Brücke-Museum, long term loan from a Private Collection (DL 1990/2)

Alexej von Jawlensky 1864 – 1941

Variation: Great Way - Evening, 1916

Oil on painting paper and cardboard

52.5 x 35 cm

Museum Wiesbaden (MUWI-KS-M-0389)

photo © Museum Wiesbaden

Karl Schmidt-Rottluff 1884-1976

Self-Portrait with Cigar, 1919

Oil on canvas

73 x 65 cm

Wiesbaden Museum (MUWI-KS-M-1059)

Marianne von Werefkin 1860 - 1938

Iron Foundry in Oberstdorf, 1912

Oil and tempera on paper laid on cardboard

69.5 x 82 cm

Von der Heydt-Museum Wuppertal (G 1635)

Ernst Ludwig Kirchner 1880 – 1938

Artillerymen in the Shower, 1915

Oil on canvas

140 x 150.5cm

Nasjonalgalleriet, Oslo, on loan from the Sparebankstiftelsen DNB, The Fine Art Collections (NMK.DEP.2019.0008)

Ernst Ludwig Kirchner 1880 – 1938

Japanese Theatre, 1909

Oil on canvas

113.7 x 113.7 cm

Karl Schmidt-Rottluff 1884-1976

Woman with a Bag, 1915

Oil on canvas

95.2 x 87.3 cm

Tate, London (N05953)

Wassily Kandinsky 1881 – 1955

Murnau-Staffelsee I, 1908

Oil on paper laid on board

33 x 44.5 cm

Ashmolean Museum, University of Oxford (WA1997.33)

Image © Ashmolean Museum, University of Oxford

Wassily Kandinsky 1881–1955
'Improvisation 30 (Cannons)', 1913
Oil on canvas
111 x 111.3 cm
The Art Institute of Chicago
Arthur Jerome Eddy Memorial Collection, 1931.511
© The Art Institute of Chicago

Ernst Ludwig Kirchner 1880 – 1938

Self-Portrait as Soldier, 1915

Oil on canvas

63 x 63.3 cm

Allen Memorial Art Museum, Oberlin College, Ohio.

Charles F. Olney Fund , 1950.29

Alexej von Jawlensky 1864 – 1941

Head of a Woman, about 1911

Oil on millboard laid on plywood

52.2 x 50.2 cm

Gabriele Münter 1877–1962
'Boat trip with Kandinsky', 1909
Oil on chipboard
39 x 25.5 cm
Private collection
© 2026 DACS / Photo courtesy of the owner

Erich Heckel 1883–1970
'Spring', 1918
Oil and tempera on canvas
91 x 92.5 cm
Neue Nationalgalerie Berlin (A II 307)
© 2026 DACS / Photo Scala, Florence/bpk, Bildagentur für Kunst, Kultur und Geschichte, Berlin / Photo: Klaus Goeken

Ernst Ludwig Kirchner 1880–1938
'Reclining Blue Nude with Straw Hat', 1909
Oil on cardboard
68 x 72 cm
Private collection © Photo courtesy of the owner

Gabriele Münter 1877-1962

Girl with a Red Ribbon, 1908

Oil on board

40.7 x 32.8 cm

The National Gallery of Ireland Collection (NGI.2006.12)

Alexej von Jawlensky 1864 – 1941

Still life with apples, 1908

Oil on cardboard

49 x 51.5 cm

Museum Wiesbaden

photo © Museum Wiesbaden

Karl Schmidt-Rottluff 1884-1976

Woman with a Bag, 1915

Oil on canvas

95.2 x 87.3 cm

Tate, London (N05953)

Max Pechstein 1881 – 1955

Russian Ballet, 1909

Oil on canvas

98 x 98 cm

Museum Wiesbaden, long loan from a Private Collection

photo © Museum Wiesbaden

Ferdinand Georg Waldmüller

The Rettenbachwildnis near Ischl The Hohenzollern-Waterfall in the Jainzen Valley close to the Sophien-Doppelblick near Ischl, 1832

Oil on wood

31.5 x 26 cm

Ferdinand Georg Waldmüller

The Lake Wolfgangsee, 1863

Oil on wood

32 x 26 cm

Ferdinand Georg Waldmüller

Early Spring in the Wienerwald, Violet Pickers in the Wienerwald, 1861

Oil on wood

52 x 66 cm

Ferdinand Georg Waldmüller

Ruins of the Juno Lacinia Temples near Agrigento, 1845

Oil on wood

31 x 39 cm

Belvedere, Vienna, on permanent loan from a private collection (Lg 2103)

Ferdinand Georg Waldmüller

View of the Dachstein with Lake Hallstättersee seen from the Hötteneckalpe near Ischl, 1838

Oil on wood

45.5 x 57.5 cm

Victor Brauner, the Magical Adventure

From 3 July and for six months, the Nouveau Musée de Monaco dedicates the spaces in the Villa Paloma to a major figure in international Surrealism, Victor Brauner (1903–1966), a singular and special artist in the history of art, whose remarkable body of work remains to be discovered. For the very first time, “Victor Brauner, the Magical Adventure” reveals an exceptional private collection based in Monaco that encompasses the artist’s entire production from the 1920s to the 1960s, covering painting, drawing and sculpture. Serving as a counterpoint to more than one hundred and sixty works from this collection, ten non-Western objets d’art collected by Victor Brauner, on loan from the musée d’art moderne et contemporain de Saint-Étienne Métropole, are also on display.

Victor Brauner’s work is at once original, erudite, highly inventive and full of humor. Drawing on his Romanian origins and the Bucharest avant-gardes, his encounter with André Breton and Surrealism from 1933, as well as diverse archaic civilizations and mythologies, he composed a wonderful visual laboratory of metamorphoses that sourced inspiration from his love of esotericism, ultra-secret dogmas, the German Romantics and non-Western arts. Bearing witness to an ever-evolving world, his fascinating, enigmatic creation moved from autobiography to mystery in a desire to achieve universality. This polymorphous body of work (painting, drawing, sculpture, objects…) is a testament to his abundant construction of objects, devised by the artist to conjure up his inner universe and the surrounding world. In a bid to cut himself off from reality, Victor Brauner created legendary worlds in which fantasy and wonder cohabit, occasionally tinged with irony to escape the barbarity around him or magnified by magic to establish a personal cosmogeny. Despite experiencing the weight of history, as did other foreign artists in the early part of the century, Victor Brauner carried on inventing all his life long, with consummate tenacity and generous originality.

In 1941, Victor Brauner confided: “every drawing and every discovery will be an extraordinary unknown place, every painting will be an adventure”.

“Through a unique private collection that presents one of the most singular and spellbinding corpuses of the 20th century, the exhibition devoted to Victor Brauner in Monaco wishes to share the magic of this great artist with as many people as possible,” states Camille Morando, the exhibition curator.

The exhibition is accompanied by a catalog published by Hatje Cantz. This book presents, for the first time, an extraordinary private collection that offers a comprehensive overview of the artist’s entire oeuvre and illustrates his multifaceted creations (paintings, drawings, sculptures, objects, writings, journals, engravings, etc.) from the 1920s to the 1960s. Edited by Camille Morando, with an interview between Samy Kinge and the private collector, as well as texts by Noémie Fillon, Fabrice Flahutez, Marie Mauzé, and Didier Semin. Victor Brauner (1903–1966) was a key figure in the Romanian avant-garde before settling in Paris. There he became one of the most captivating painters of the Surrealist movement and remained a productive and inspiring creator until his death in 1966. (Text in English)

Friday, July 24, 2026

Going Modern: British Art, 1900–1960

Yale Center for British Art

February 12 through August 9, 2026

This spring, the Yale Center for British Art (YCBA) presents Going Modern: British Art, 1900–1960, an exhibition tracing how artists in Britain negotiated the challenges and opportunities of modernism in a rapidly changing world. Drawn from the museum’s renowned collection, the exhibition features more than seventy paintings and sculptures by some of the most compelling figures of twentieth-century British art, including Walter Sickert, Vanessa Bell, Ben Nicholson, Henry Moore, Barbara Hepworth, Francis Bacon, Lucian Freud, and Frank Auerbach.

“Going Modern demonstrates the richness and complexity of Britain’s engagement with modernism,” said Martina Droth, Paul Mellon Director, YCBA. “The exhibition reveals how artists working within a deeply rooted national tradition responded to thechanging world around them, developing innovative forms of expression that continue to shape our understanding of modern art today.”

The first half of the twentieth century in Britain was marked by dramatic trans- formation: new technologies, shifting social and political orders, and the upheavals of two World Wars. For artists, these developments posed a vital question: how could a nation so deeply rooted in tradition forge its own modern identity? “Going modern and being British,” as the painter Paul Nash observed, was never straightforward.

“Through the lens of the YCBA collection, Going Modern illuminates how British artists met this challenge with imagination and diversity of approach,” said exhibition curator Lucinda Lax, Interim Head of the Curatorial Division and Curator of Paintings and Sculpture at the YCBA. “Together, they created a dynamic and multi- faceted modernism—one that encompassed the abstract and the figurative, the geometric and the expressive, and ultimately brought them together in increasingly powerful ways that continue to resonate and inspire today.”

Highlights of the exhibition include early twentieth-century paintings by Walter Sickert and members of the Camden Town Group, which capture the modern city’s atmosphere and rhythms; works by Roger Fry, Vanessa Bell, and Duncan Grant that exemplify the Bloomsbury Group’s experimental spirit; and Ben Nicholson’s elegant abstractions, which helped define a distinctly British modernist aesthetic. The groundbreaking sculptures of Henry Moore and Barbara Hepworth stand alongside powerful figurative paintings by Francis Bacon, Lucian Freud, and Frank Auerbach, whose intense psychological visions marked a new era in postwar art. Other featured artists—among them Paul Nash, Prunella Clough, Keith Vaughan, and William Turnbull—demonstrate the extraordinary range of styles that characterized Britain’s artistic identity in the first half of the twentieth century.

Going Modern: British Art, 1900–1960 is organized by the Yale Center for British Art and curated by Lucinda Lax, Interim Head of the Curatorial Division and Curator of Paintings and Sculpture, with Rachel Stratton, independent curator and former Postdoctoral Research Associate at the YCBA. The exhibition will be on view at the YCBA from February 12 through August 9, 2026

IMAGES

C. R. W. Nevinson, The Wave, 1917, oil on canvas, Yale Center for British Art, Paul Mellon Fund.

Ben Nicholson, May 1955 (Gwithian), 1955, oil on canvas, Yale Center for British Art, Paul Mellon Collection.© Angela Verren Taunt. All rights reserved, DACS, London / ARS, NY 2025. Image courtesy of Yale Center for British Art.

Barbara Hepworth, Biolith, 1948–49, Yale Center for British Art, gift of Virginia Vogel Mattern in memory of her husband, W. Gray Mattern, Yale BA 1946. Barbara Hepworth © Bowness. Image courtesy of Yale Center for British Art.

Lucian Freud, Girl in a Dark Dress, 1951, oil on canvas, anonymous loan. Lucian Freud Archive © Bridgeman Images. Image courtesy of Yale Center for British Art.

Edward Wadsworth, Sea-verge, 1943, tempera on board, Yale Center for British Art, Paul Mellon Fund.

Walter Sickert, La Giuseppina, 1903 to 1904, oil on canvas, Yale Center for British Art, Paul Mellon Collection.

Roger Fry, La Ciotat, ca. 1915, oil on canvas, Yale Center for British Art, gift of Lois Severini and Enrique Foster Gittes, Yale BA 1961.

Francis Bacon, Study of a Head, 1952, oil on canvas, Yale Center for British Art, gift of Beekman C. and Margaret H. Cannon. © The Estate of Francis Bacon. All rights reserved. / DACS, London / ARS, NY 2025. Image courtesy of Yale Center for British Art.

Henry Moore, Helmet Head No. 3, 1960, bronze,
Yale Center for British Art, Paul Mellon Collection.
© The Henry Moore Foundation. All rights reserved, DACS 2025 / www.henry-moore.org. Image courtesy of Yale Center for British Art.

Harold Gilman, Stanislawa de Karlowska, ca. 1913, oil on canvas, Yale Center for British Art, Paul Mellon Fund.

Wednesday, July 22, 2026

I, GUSTAVE COURBET Painter and Rebel

Museum Folkwang

17 July – 8 November 2026

Museum Folkwang is dedicating a major retrospective – I, Gustave Courbet. Painter and Rebel – to one of the most influential artists of the 19th century. From 17 July to 8 November 2026, the Museum Folkwang will be exhibiting 100 works from all periods of the French artist’s career – including 85 paintings. The exhibition is complemented by drawings by the artist, as well as a carefully curated selection of historical photographs and contemporary documents.

The exhibition focuses on Gustave Courbet’s (1819–1877) significance as a pioneer of modern painting. Courbet was not only an artistic innovator, but also helped shape a new self-image of the artist as an independent, outspoken and public figure. He rejected the idealised aesthetics of his time and instead depicted the lives of ordinary people and social reality in his art.

Courbet viewed painting as a form of resistance: his approach to traditional pictorial genres and his painting technique, which often allows the material presence of the paint to shine through, make him one of the most important exponents of realism. Courbet grew to became a role model for subsequent generations of artists far beyond France’s borders.

The extensive exhibition in Essen features around 90 works, including major pieces such as Le Fou de peur (1844), L’Après-dînée à Ornans (1849), Jo, la belle Irlandaise (1866), L’Origine du Monde (1866) and L’Homme à la pipe (1849). Spanning some 900 square metres, the exhibition brings together loans from international museums and collections, including Musée d’Orsay in Paris, Metropolitan Museum of Art in New York, Nasjonalmuseet in Oslo, Nationalmuseum in Stockholm, Alte Nationalgalerie in Berlin and Musée Fabre in Montpellier as well as from numerous private collections.

The Retrospective
For Museum Folkwang, the retrospective presents a unique opportunity: it ties in with the museum’s significant collection of French art. For example, Cézanne’s The Bibémus Quarry from the Folkwang Collection in Essen will be shown alongside works by Courbet. This allows visitors in Essen to experience first-hand Courbet’s influence on the development of modern painting.

The exhibition’s nine sections are devoted to the key stages of the artist’s life and the central themes of his work. It explores key motifs in Courbet’s extensive oeuvre: self-image and landscape, social reality, the public sphere, nude depictions as well as politics and exile.

The exhibition opens with Courbet’s striking self-portraits, which trace his development from a young, as yet largely unknown artist to a central figure in the French art world. He portrays himself as a rebel, a dreamer or a loner, thereby consciously shaping his public image as an artist. Major works such as Le Fou de peur reveal just how closely his self-image and artistic programme were intertwined from the very beginning.

Another focus is on the landscapes of his home region, Franche-Comté, around his birthplace, Ornans. Courbet saw direct observation of nature as a means of depicting reality and of approaching an unadulterated truth through his painting. The landscapes, rock formations, caves and waterfalls became the starting point for his new conception of nature. With his material-focused, impasto style of painting, Courbet developed a visual language that paved the way for modernism.

Equally influential are Courbet’s depictions of social reality. Works such as L’Après-dînée à Ornans mark his radical break with academic ideals: instead of historical or mythological subjects, the focus shifts to everyday people and social reality.

Courbet’s conflict-ridden relationship with the Academy and the Salon, as well as his deliberate assertion of his independence as an artist, are the focus of the following sections of the exhibition. Hunting scenes and seascapes reveal his fascination with nature in all its forms: from dramatic depictions of animals to the powerful wave scenes of the French coastline.

A separate gallery is devoted to portraits and nudes of women. Courbet broke away from the ideals of academic beauty and depicted women with a directness that was unprecedented at the time.

Rather than idealised beauty, the focus is on real physicality, the materiality of the painting style and the immediacy of the figures. At the same time, he draws on traditional pictorial conventions and develops them further – for example in Jo, la belle Irlandaise or L’Origine du Monde, in which Courbet radicalises the directness of the nude and focuses exclusively on the female genitalia.

A separate chapter explores Courbet’s engagement with the then-fledgling art of photography: historical photographs by leading French photographers such as Gustave Le Gray and Henri Le Secq, drawn from the Museum Folkwang’s internationally renowned photographic collection, are juxtaposed with Courbet’s landscapes, seascapes and still lifes. These comparisons open up new perspectives on Courbet’s artistic vision and reveal the close links between painting and the medium of photography.

The exhibition then explores Courbet’s political activism during the Paris Commune and his conviction. It concludes with works from his exile in Switzerland. These works speak of the loss of his homeland and the melancholy of his final years, yet at the same time of the unbroken creative energy of an artist whose influence extends well into the modern era.

“The exhibition presents Courbet as a driven figure who took on various roles, studied the history of painting, revitalised art and strove for success – not by conforming, but as a rebel and revolutionary – in art as in life. The fact that so many exceptional international loans from museums and private collections are coming to Essen is a great success and the result of close collaboration with the Leopold Museum in Vienna and numerous lenders,” says Peter Gorschlüter, Director of the Museum Folkwang.

IMAGES

01 | GUSTAVE COURBET 1819–1877 The Sister Juliette, c. 1840 Oil on canvas | 22 × 27 cm Von der Heydt-Museum Wuppertal Photo: Von der Heydt-Museum Wuppertal/Medienzentrum Wuppertal

02 | GUSTAVE COURBET 1819–1877 Self-Portrait or Man with a Dog, 1842 Oil on canvas | 27.5 × 22 cm Collection Musée d’Art et d’Histoire de Pontarlier – France Photo: 28 A 88 – Collection Musée d’Art et d’Histoire de Pontarlier – France

03 | GUSTAVE COURBET 1819–1877 Portrait of Paul Ansout, 1844 Oil on canvas | 61 × 65.2 cm Musée de Dieppe Photo: C2RMF/Thomas Clot

04 | GUSTAVE COURBET 1819–1877 The Man Mad with Fear, c. 1844 Oil on canvas | 60.5 × 50 cm The National Museum of Norway Photo: Nasjonalmuseet/Børre Høstland

05 | GUSTAVE COURBET 1819–1877 The Sculptor, also called The Poet, 1845 Oil on canvas | 55.9 × 41.9 cm Private collection Photo: 2024 Christie’s Images Limited

06 | GUSTAVE COURBET 1819–1877 The Man with the Leather Belt. Portrait of the Artist, 1845/46 Oil on canvas | 105 × 81.2 cm Paris, musée d’Orsay Photo: GrandPalaisRmn (musée d’Orsay)/Hervé Lewandowski

07 | GUSTAVE COURBET 1819–1877 Young Man Sitting, Study. Self-Portrait at the Easel, 1847 Charcoal on paper | 45 × 34 cm Paris, musée d’Orsay, conservé au cabinet des arts graphiques du musée du Louvre Photo: GrandPalaisRmn (musée d’Orsay)/Thierry Le Mage

08 | GUSTAVE COURBET 1819–1877 After Dinner at Ornans, 1849 Oil on canvas | 195 × 257 cm Lille, Palais des Beaux-Arts Photo: GrandPalaisRmn (PBA, Lille)/Philipp Bernard

09 | GUSTAVE COURBET 1819–1877 L’Homme à la pipe | Der Mann mit der Pfeife, um 1849 Öl auf Leinwand | 45,8 × 37,8 cm Musée Fabre, Montpellier Foto: Musée Fabre de Montpellier Méditerranée Métropole/Frédéric Jaulmes

09 | GUSTAVE COURBET 1819–1877 Man with a Pipe, c. 1849 Oil on canvas | 45.8 × 37.8 cm Musée Fabre, Montpellier Photo: Musée Fabre de Montpellier Méditerranée Métropole/Frédéric Jaulmes

10 | GUSTAVE COURBET 1819–1877 The Stone Breakers, c. 1849 Oil on canvas | 75.1 × 84 cm The Swiss Confederation, Federal Office of Culture, Oskar Reinhart Collection “Am Römerholz,” Winterthur Photo: The Swiss Confederation, Federal Office of Culture, Oskar Reinhart Collection “Am Römerholz,” Winterthur

11 | GUSTAVE COURBET 1819–1877 The Meeting or Bonjour Monsieur Courbet, 1854 Oil on canvas | 132.4 × 151 cm Musée Fabre, Montpellier Photo: Musée Fabre de Montpellier Méditerranée Métropole/Frédéric Jaulmes

12 | GUSTAVE COURBET 1819–1877 The Stag at the Water or The Cornered Stag, 1861 Oil on canvas | 220 × 275 cm Marseille, musée des Beaux-Arts Photo: Ville de Marseille, Dist. GrandPalaisRmn/Jean Bernard

13 | GUSTAVE COURBET 1819–1877 Nude Woman with a Dog, 1861/62 Oil on canvas | 65.5 × 81 cm Paris, musée d’Orsay Photo: GrandPalaisRmn (musée d’Orsay)/Hervé Lewandowski

14 | GUSTAVE COURBET 1819–1877 The Source of the Lison, c. 1864 Oil on canvas | 66.5 × 80.5 cm Staatliche Museen zu Berlin, Nationalgalerie Photo: bpk/Nationalgalerie, SMB/Andres Kilger

15 | GUSTAVE COURBET 1819–1877 The Manbouc Valley, 1865/66 Oil on canvas | 54.5 × 73 cm Leopold Museum, Vienna Photo: Leopold Museum, Vienna

16 | GUSTAVE COURBET 1819–1877 The Calm, Seascape, 1865–1867 Oil on canvas | 45 × 54.5 cm Ville de Lons-le-Saunier, musée des Beaux-Arts, France Photo: Collection Musée de Lon-le-Saunier/Jean-Loup Mathieu

17 | GUSTAVE COURBET 1819–1877 The Origin of the World, 1866 Oil on canvas | 46.3 × 55.4 cm Paris, musée d’Orsay Photo: GrandPalaisRmn (musée d’Orsay)/Hervé Lewandowski

18 | GUSTAVE COURBET 1819–1877 The Sleepers, 1866 Oil on canvas | 135 × 200 cm Petit Palais, musée des Beaux-Arts de la Ville de Paris Photo: Paris Musées/Petit Palais, musée des Beaux-Arts de la Ville de Paris

19 | GUSTAVE COURBET 1819–1877 The Wounded Man, 1866 Oil on canvas | 79.5 × 99.5 cm Belvedere, Vienna Photo: Belvedere, Vienna

21 | GUSTAVE COURBET 1819–1877 Coastal Landscape, 1866 Oil on canvas | 46.2 × 55.6 cm Leopold Museum, Vienna Photo: Leopold Museum, Vienna

22 | GUSTAVE COURBET 1819–1877 The Waterspout, 1867 Oil on canvas | 65.4 × 81.2 cm Collection M. Urbain, Paris Photo: Collection M. Urbain, Paris

23 | GUSTAVE COURBET 1819–1877 Portrait of the Poet Pierre Dupont, 1868 Oil on canvas | 54.5 × 40.5 cm Staatliche Kunsthalle Karlsruhe Photo: Staatliche Kunsthalle Karlsruhe

24 | GUSTAVE COURBET 1819–1877 The Sculptor Marcello (Duchess of Castiglione-Colonna), 1870 Oil on canvas | 60.2 × 49.3 cm Musée des Beaux-Arts, Reims Photo: Musée des Beaux-Arts, Reims/Christian Devleeschauwer

25 | GUSTAVE COURBET 1819–1877 The Wave, 1870 Oil on canvas | 45 × 59 cm Museum Folkwang, Essen Photo: Museum Folkwang, Essen

26 | GUSTAVE COURBET 1819–1877 Self-Portrait in Sainte-Pélagie, 1872 Oil on canvas | 92.5 × 73.4 cm Musée départemental Gustave Courbet, Ornans Photo: Musée départemental Gustave Courbet/Pierre Guenat

27 | GUSTAVE COURBET 1819–1877 Trout, 1872 Oil on canvas | 52.5 × 87 cm Kunsthaus Zürich, 1936 Photo: Kunsthaus Zürich

28 | GUSTAVE COURBET 1819–1877 Chillon Castle, 1874 Oil on canvas | 64.8 × 80.7 cm Musée d’Art et d’Histoire de Belfort Photo: Musées de Belfort/Philippe Martin

29 | GUSTAVE COURBET 1819–1877 Panorama of the Alps, c. 1876 Oil on canvas | 63.2 × 140 cm MAH Musée d’art et d’histoire, Ville de Genève Photo: Musée d’art et d’histoire, Ville de Genève/Bettina Jacot-Descombes