A Burial at Ornans: Courbet’s Realist Masterpiece
A Burial at Ornans
Subject
This painting depicts a funeral in Ornans, possibly inspired by a family burial (like his grandfather’s). Courbet portrays the community of Ornans gathered for the ceremony before the coffin is lowered into the grave. The open grave, prominently placed in the center, dominates the viewer’s space. A Burial at Ornans intertwines themes of death and religion, highlighting the community’s grief. The Jura mountains form the backdrop, grounding the scene in a real location.
Courbet used villagers as models: pallbearers on the left, the priest and his entourage, and villagers in various poses. In the center, men stand before the burial site with distressed expressions. On the right, women mourn. A gravedigger stands beside the open grave, observed by a dog. The painting captures the raw reality of death: the pain of loved ones and the social hypocrisy of some attendees performing routine actions.
The 46 characters were all inhabitants of Ornans. As was customary, men are positioned on the left and women on the right. The men wear black, many with top hats. The women wear white caps with black hoods, many holding white handkerchiefs. Historians have identified most of the characters using municipal records and affidavits.
Details
- Pallbearers: Wearing white gloves, black clothes, and rounded top hats, they carry the coffin covered in a white sheet, their faces turned away (it was customary to display the body for several days before burial).
- Across the Pit: Figures in attire worn by revolutionaries between 1702 and 1793.
Role and Significance
Courbet aimed to depict a social event—a funeral—as it truly appeared. He understood that portraying reality could be seen as provocative, but he believed in representing the truth. Presented at the Paris Salon of 1850, A Burial at Ornans (measuring 6.68 x 3.15 meters) was awarded second prize but poorly received by critics who considered the large format inappropriate for a ‘popular story.’ The panoramic format was typically reserved for historical, mythological, or religious scenes.
Due to criticism, the painting was rejected at the 1855 Universal Exhibition. Courbet financed his own exhibition nearby, showcasing forty of his realist paintings and publishing a catalog where he declared himself a ‘realist painter,’ marking the official birth of Realism.
Historical Context and Ideology
Painted in 1849, the work reflects the era of the French Second Republic (1848). The 1848 revolution marked a clash between the bourgeoisie and the proletariat. Courbet, a socialist, democrat, and republican, sought objective truth. Influenced by Proudhon, he participated in writing The Principle of Art and its Social Application (1865). Compositions like The Fight of Deer and The Crow Hunt brought him popular success.
The Franco-Prussian War disrupted Courbet’s life. He was arrested, court-martialed, and rejected from the 1873 Salon. He faced disapproval in Ornans, exiled himself to Switzerland, and sought refuge in alcohol. He died on December 31, 1877, unable to return to Ornans.
Additional Information
Title and Author
Title: A Burial at Ornans (Un enterrement à Ornans)
Author: Gustave Courbet
Date and Context
Painted in 1849, the painting caused a scandal at the 1850 Salon due to its large scale and realist depiction of an ordinary funeral. Rejected from the 1855 Universal Exhibition, Courbet organized his own ‘Pavilion of Realism,’ which influenced the future Salon des Refusés (Salon of the Rejected).
Dimensions and Medium
Dimensions: 3.15 x 6.68 m
Medium: Oil on canvas
Style and Location
Style: Realism
Location: Musée d’Orsay
Composition
Dominated by static horizontal lines, the composition features life-sized figures arranged horizontally like a frieze, echoing Roman sarcophagi. The figures’ arrangement mirrors the undulation of the Jura mountains in the background. The characters are depicted without hierarchy, though women are separated on the right. The horizon line is high, about 1/7 of the picture. Perspective is achieved through chiaroscuro, overlapping figures, and the receding background.
Visual Elements
Courbet draws on Baroque tradition, applying colors in spots with Caravaggio-like lighting. A limited color palette enhances the drama. Black and white predominate, accented by the reds of official robes and caps. Earthy and greenish-ocher tones create a consistent landscape. The light, inspired by Caravaggio, contrasts the foreground with the black-clad figures. Light emphasizes the figures’ physicality rather than their drama. A twilight atmosphere adds to the landscape’s loneliness.
Technique
Loose, often pasty brushwork
Prevalence of black and dark tones
Detailed rendering
Focus on reality as it is