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Rejected from a national exhibition, Courbet simply launched his own show to display this enormous work. Speakers: Dr. Beth Harris and Dr. Steven Zucker. Is it possible that Courbet is using his title to alert the viewer to contradictions and double meanings in the image? Look, for instance, at the dim paintings that hangs on the rear wall of his Paris studio. These large landscapes seem to form a continuous horizon line from panel to panel. They dissolve enough so that we are not sure if they are paintings, or if they are perhaps windows that frame the landscape beyond.
Courbet seems to muddy the distinction and allow for both possibilities. The artist is immediately recognizable in the center of the canvas. His head is cocked back and his absurd beard is thrust forward at the same haughty angle seen in Bonjour Monsieur Courbet. But here he is assessing and just possibly admiring the landscape that he is in the process of painting.
The central composition is a trinity of figures four, if you count the cat. Note that her dress is strewn at her feet. However, Courbet does not look in her direction, as he would if she were actually posing for him. He is, after all, painting an unpopulated landscape. Oddly, the direction of the gaze is reversed. She gazes at the landscape he paints.
The boy to the left of the artist is also a reference. The boy is unsullied by the illusions of adulthood—he sees the truth of the world—and he represented an important goal for Courbet—to un-learn the lessons of the art academy. The sophistication of urban industrial life, he believed, distanced artists from the truth of nature.
