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In 1850, he showed three paintings at the Combined Salon in Paris. These paintings included The Stone Breakers, The Huge Burial at Ornans and The Peasant of Flagey. The three paintings presented a depiction of rural life and their stylistic execution was in such a way that they would look post‐Romantic’ [Prof. Moore (1), pg.1].
The Huge Burial at Ornans for instance was a major source of hullabaloo. It was a very large painting measuring 3.1 metres by 6.6 metres. The painting depicted the burial of his great uncle at the town of Ornan in September 1848. Gustave in this piece of art presents a real funeral scene. One can clearly see the tranquility and calmness in the painting. Unlike other artists of his time, Gustave did not glorify the setting with flamboyant portrayal of descending angels with God sitting on the throne in the clouds above. This clearly indicates his desire to portray reality. At the foreground, an open grave awaits the coffin while the funeral procession is approaching from the left. Unlike other historical narrative paintings who used models, He uses the actual villagers who were at the ceremony including his sister and mother. This proves his love for realism, which was a major factor that contributed to the “rise of modernism.” In his portrayal of realism, he encouraged other artists to put an end to the norm of creating illusionary images and instead create real images, which represented real life situations.
Edouard Manet is another artist who played a major role in the “rise of modernism.” He was born in Paris, France on 23 January 1832. Manet entered into the studio of Thomas Couture together with his friend Antonio Proust. In 1956, he opened his own studio and stopped working in Couture’s studio. As a young and enthusiastic painter, Eduoard Manet abandoned the teachings he had learnt from Thomas Couture and began painting in his own style. He followed his own
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