Valley at Fontcouvert 

Editor: Here we have Courbet's "Valley at Fontcouvert", an oil on canvas landscape from, we think, around the mid-19th century. It’s so interesting, almost dreamlike. What strikes me most is the figure on the left, cloaked in shadow. What do you make of the painting? Curator: That figure offers a compelling entry point. Courbet, during the rise of Realism, challenged the dominant romanticized depictions of nature. How might this depiction of the French countryside reflect shifts in social attitudes of the period? Editor: Interesting question. I guess it is far from a glorification. The scene isn’t conventionally beautiful; the weather looks gloomy, the colors are muted... Curator: Exactly! Courbet aimed for authenticity, rejecting idealized forms of Romanticism, even its popular depictions of rural life. Where did most art get shown? Who had the means to appreciate nature like this, and who worked the land and perhaps resented landscape art? Editor: Of course, the Academy shows. I suppose most of the rural population might not have appreciated idyllic nature depictions because they probably saw how much hard work it took to survive from agriculture. How does this intersect with his Realist approach? Curator: Courbet's landscapes insist on showing nature in its less-polished state, relatable, while at the same time making artwork in a way that defies easy categorization. Think about it: his impasto application of paint challenges any notions of idealized scenes. What do we think about who his audience was, and could they take on art that challenges prevailing sensibilities of natural beauty? Editor: This reminds me that seeing artwork isn’t just a personal experience, and I think I now have a much greater insight into the nuances of 19th-century French art and society, I should reflect on that, thank you! Curator: Yes, seeing artwork gives access into understanding society.