The Meeting Bonjour Monsieur Courbet made in 1854 was the performance of the country where he walked across with his painting tools. His friend and boss was respectfully greeting him. For people who were get used to the academic art works, this painting seemed to be very naïve. The simple layout did not have the graceful posture with no smooth lines and touching colors. In terms of “elegant” artists and their supporters, the whole idea that drew the painter as a tramp without wearing a coat was treason and heresy. This painting was actually a group portrait where the painter appeared arrogant, self-confident and self-respect. He intentionally lowered the horizontal lines to make the figures tall. He also used the outdoor light and bright and transparent colors to show a masterpiece of self-expression. What he painting depicted was the painter Courbet carrying a picture box out painting and meeting his friend Brua and his servant on the way. The intention of this painting was the performance of the painter’s arrogance. So, his handful wedge beard was dubbed the “Hello, Mr. Courbet”!

When it comes to Courbet’s revolutionary and critical sense, it was necessary to mention this painting The Meeting Bonjour Monsieur Courbet. If you did not say which one is Courbet, probably most audience would guess wrong and think the person dressed in graceful clothes and leather shoes is Courbet. In fact, the backpacker closest to us in the painting was the real Courbet. From this painting, we saw Courbet did not beauty himself and what we saw was the real Courbet. The real significance of this painting was that the Courbet’s sponsor met Courbet, but Courbet was dressed casually and not like a gentleman. This was not in line with rule as that time, which reflected the painter’s attitude to attack the society. At the time of the society, the revolutionary and critical spirit of Courbet was quite remarkable. Later it was said that Gauguin also referred to Courbet’s skill to paint a picture of Good Morning, Mr. Gauguin, which was about to follow in an experience against the traditional meaning.  But it was not so famous, while still worth learning.

When the French Emperor Napoleon III visited a painting exhibition in Salon, he saw a painting called The Bathers. He found it was very “vulgar” and then took the whip from his fellows to severely beat this painting. This rude behavior caused great repercussions in society at that time. At the same time, this also made the painting very famous. The Bathers was made by the famous French painter Courbet in 1853. Courbet was born in Ornans town in the south of France in 1819. At the

center position of viewpoint. Vigorous modeling skills and painting expressive force showed the charm of realistic painting language. The Bathers was an outstanding work that performed the female bodies. Its painting techniques were indeed the pride of French paintings. In the whole work, the background was the dense green plants and the blue sky appeared in the corner. But it was like the photography with the false scenery in the studio before, which was intentionally arranged by the painter. Under its contrast, the women’s skin gave a rosy and healthy feeling.

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the simplicity of life with rich artistic charm. The critic Carsten sincerely felt happy and said Courbet no longer drew those vulgar labor nudes and began to pay attention to the Paris people’s appreciation. Subsequently, his works were successfully sold. Courbet gradually lost his own control. And in a conference in Antwerp in 1861, he said, “I argue denying the ideal and everything that is associated with this thing. And I am in favor of the full personality liberation and democracy.”

Five years later, he took out the amazing woman body painting Woman with a Parrot in a fair, which was quite different from the previous realistic painting style. The naked woman was lying on a bed covered with white sheets and the female nude was more seductive under the contrast of the white. The modeling was very precise and the woman’s hair and the parrot on her left hand strengthened the body’s charm, giving people some pornographic means. Courbet used so bold composition which was not often seen in his previous works. Naked skin was demonstrated embellish in the dark environment and the stretched curve once again showed Courbet’s realistic skills and ability. It was said that before the salon, the single lines in Manet’s artwork Olympia once caused the strong criticism, which made Courbet produce a compromise psychology. The irresistible personality of him disappeared and he used the best artistic art skills to create his natural realistic essence of aesthetics. There was no doubt that this painting was the masterpiece in his later artistic career, although this artistic attitude was accused by the writer Zola who was once very supportive.

Mlle Irene Cahen D’Anvers was one of the most impressionistic portraits of  Pierre Auguste Renoir, which was a side-way portrait made for a famous banker’s daughter 8-year-old daughter Irene. The little Irene had a head of golden brown and fluffy hair which hung in her chest and waist. She was wearing a light blue dress, with her head wearing a small butterfly knot. She sat quietly and her hands put on the thighs. She looked very pale and her big eyes stared at the front, seeming to be preoccupied by some troubles.  The whole painting’s color was very bright and the elegant painting techniques. The modeling was completed by a series of fine short stroke; there was no clear line on the screen. Against the dark background, the girl with the blonde hair was particularly bright.

The little Irene had the oriental ethereal temperament and her inexplicable melancholy temperament deeply made me fall in love with her. At the age of 8, she should be happy and cheerful. But what the little Irene showed was a quiet, sedate and somewhat mature feeling. People did not know why they were fascinated by this painting. Seeing her, people could feel infected by her quietness and sadness and their impetuous and endless heart would become calm. Renoir once said, “Only when I feel that I am able to touch people in the painting, I can say I have completed this human portrait painting.” And the little Irene was such a character. I felt as if she was sitting in front of me. There was a world in her eyes, which was another world in her heart. Maybe she was imaging or in meditation. Her existence  was a kind of beauty.

Although the performance of the Mediterranean seascape was always the calm torpid sea, the English Channel looked out from the Normandy coast was rolling a storm and wave scene. The waves were kept to the precipitous rock faces and sheer cliffs roll up and shatter.

In the summer of 1869, Courbet stayed in the tower and painted a series of sea billowing seascapes, and entitled them The Stormy Sea. His painting technique was quite different from that of other impressionist painters. Other impressionist painters tried to show the restlessness state of the motion of the waves, which was a fleeting scene. But Courbet was on the contrary. He faced the magnificent natural wonders and what he pursued was the absolute existence. He treated the waves just like treating a tree or a rock and carefully studied their shape, size as well as the quality. Courbet came from the countryside and liked the concrete and real things. Such trait appeared in his paintings and produced a kind of Special Forces, making the real things out of myth. The instinct idealization of solid unchanging things would make Courbet’s modeling language have the absolute power. This seascape painting was the most memorable one among his series of sea view paintings. Courbet especially focused on the depiction of the clouds, and tried to find out the new relationship between the painting and the color. The waves like a bubble clouds, sunset afterglow and the grey prospect made all blend into one harmonious scene as a whole.

The full name of The Artist`s Studio was The Artist’s Studio, a real allegory summing up seven years of my artistic and moral. The painter’s conception was to show his artistic career since 1848, and contain a profound social philosophy. The painter painted made all his friends who had influenced his life and thought and models that he once painted into one picture. In addition, this painting also focused on all walks of life images from the society, showing a French society in miniature.

The Artist`s Studio was the most successful and most complicated work in painting processing of Gustave Courbet. The artist’s conception was to take this painting as a memory of his life after 1848; this painting described more than 30 people and each character had its own meaning: in the middle, there was a view that the painter made and the child in front of the painting represented “innocent eyes”; the naked female model represented the eyes of the artist Mousika, or truth; behind the painting, the Saint Sebastian was fixed in the cross, representing the dead school art. The painting was divided into two parts: the person who sat right and read a book was the poet Baudelaire, which symbolized “poetry”; in the front, a pair of men and women was standing there, which were the appreciators of painting; each character in turn had symbolic significance: “prose”, “philosophy”, “music”. Another part of the oil painting was the models that mostly painters painted, which was set as the society. They were described as poverty, depression, damaged and exploited people.

The painting color of Duchamp’s painting Nude Descending A Staircase No 2 was brown, which was a typical Cubist tone. It took apart the human movements going downstairs, as if the moment captured picture pasted together. The title of the work was clearly written on the canvas, The naked woman of downstairs: has been described as “mills of the big bang”. Duchamp’s painting is considered to be pioneers of futurism. In this work, one can not see naked women, or a complete staircase, only to see some messy lines. Duchamp later sent this painting to the 28th independent exhibition, but it was rejected by the judges, saying that it had exceeded the tolerable limit. It had been seen in the United States Armory fairs and was regarded as “the big bang of the mills”.

Nude Descending A Staircase No 2 was a Marcel Duchamp‘s decisive work which was the second thorough reform of the traditional painting. It was said that he once saw a photo a friend made a Double Exposure of negatives, overlapping phenomenon of continuous movements in the film, giving the artist a great deal of inspiration. On this painting, however, objective figures were not contemplated by the painter and his naked woman down the stairs was cut into chunks of lines shapes. We could see a lot of overlap in the action States vaguely. Bright oil yellow sparkled in the light irradiation and groups that crossed Mirage hold in a rush. There was the crossroads the machines of the industrial age and people’s sense of urgency and speed. Evidently the creation of the painting under the influence of futurism and Dadaism absorbed the speed and against the traditional concept of art.

Under the influences of the Impressionist friends, Edouard Manet abandoned the style with dark colors and traditional themes after 1870 and accepted the light-colored series and also dedicated to the subjects of contemporary life. Among these themes, cafes occupied an important position. All the 19th century was the prosperity of the Paris cafes. These were all kinds of cafes, the coffee halls such as hotels and beer bars provided the customers with songs and dances. The painters worked all day long in the studio would go for a drink, smoking, talking about arts or listening to the popular songs the pop singers song. They would meet some models there sometimes. In fact, the cafes were the places where people mingled, people of all social classes appeared there, it was acceptable that there were even some single women(the synonym of prostitutes women) patronized there.

As well as the contemporaries, Manet went to the café house nearby frequently, whether it was dressy or ordinary. These places sometimes could give here creative inspirations. He was the regular of the coffee dance hall which located at the foot of the Montmartre hill. He often made some live sketches which showed the customers in the café and the scenes of shows. And then, he depicted these scenes as a significant draw in the studio, if he was not satisfied with the painting, he would split in into two pieces and then painted again on another canvas of the same theme. That was the painting in the Orsay museum.

The painting suffered the same fate as well, the trilateral sides had been cut and only the right side was remained. In order to show the overcrowded, smoggy and noisy scene of the café dance hall, he painted the objects as close as possible. They were five mainly types of people who represented all the social classes merging frequently in the place: a waitress, a worker with blue jacket, a bourgeois who was seen wearing a top hat and a woman and a female singer. Their faces were all been cut partially deliberately with the purpose of giving people a impression that this was a glimpse of nature or fast micrograph of arbitrary truncation space.

The female singer had only half body, it still felt weird even the other impressionists especially Degas also used this technique. Except the waitress was watching on the audience, the eyes of the others’ turned to the translucent silhouette of the singer appeared on the stage. He arranged the screen space through the eyes of the people in the painting to make opposite contacts between the foreground and background. All the figures seemed flatten in the painting, only the face of the waitress, beer cups, pipes, black hat, and the branches pendent lamp were visible clearly in the hazy painting. In order to show the lively atmosphere of the coffee dance hall, to shine the light, Manet picked up another vigorous and effective brush of the Impressionist, coloring with parallel and cross strokes which would not leave edges of sketching contours.

This painting was a special witness claimed that Manet was interested the paintings representing the scenes of life. Degas and Renoir mainly depicted such scenes.

William Turner was born in a hairdresser’s family in London, and learned watercolor from Thomas Malton who was served as the military surveyor. He was admitted into the Royal Academy of Fine Arts School at 14 and his watercolor landscape paintings were exhibited on public at 15. After graduation, he served as copying paintings for the Monroe doctor with Goddin. William Turner was particularly good at copying the watercolors of Keshensi and followed his style. He officially became the academician of the Royal Academy of Fine Arts School in 1802, established his own studio in 1804 and served as the Professor of Perspective science in 1807. In the meantime, Turner traveled to Europe repeatedly, created many excellent watercolor paintings. The amount of his works was up to 1500 pieces.

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to senile depression in December 19, 1851 in Chelsea.

The painting consists of 12 people: a group of people in the middle was the center of the plot, an angel was holding the cross, and the light was coming from this side. And two men took just under the cross of Christ and their eyes were concentrating in the face of Christ, displaying the anxiety; on the left side a woman devoutly got on her knees with both hands holding the Christ’s feet, showing a grief feeling. Behind, the virgin Maria had been fainted because of excessive sadness. A pair of young people supported her as she did not fall and the woman on the left also felt sad due to the heard news. On the right side, a group of people also shrouded in a quiet atmosphere, especially the third person on the right sitting in the dark further added the plot atmosphere which was deep, blue and silent. At the same time, a touch of unrest was also floated in silence.

Entombment ceremony of Christ was originally sacred and solemn, and in Caravaggio’s pen, it was just plain and simple poor funeral scene. With real life events and figures, the painter depicted the sacred religious themes. The figures were arranged in the diagonal position, and Jesus as the main image was naked in the light, which was portrayed as a strong and lives on in spirit, like a hero. John and Peter held the remains of Jesus very devoutly. Peter was portrayed as a plain farmer with particularly eye-catching strong feet. The sad mother stretched out her right hand to caress farewell, and the girl who burst into tears was the saint Vala, and the behind was the grief with uplifted arms woman was the soul saved by Jesus. The whole painting was the epitome of a family tragedy. The spotlight, strong chiaroscuro painting for layout shaped the character and image, which was Caravaggio artistic style. He was not affected by the natural light. From the painter’s creative intention, the painting was composed of equalization, echo and the beauty of rhythm.