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Art changes only through strong convictions, convictions strong enough to change society at the same time. So proclaimed Theophile Thore, quarante-huitard critic, admirer of Theodore Rousseau, Jean Millet, and Gustave Courbet, an art historian who discovered Vermeer and one of the spokesmen for a new, more democratic art, in 1855, in exile from Louis Napoleon's imperial France. Courbet's painting is "avant-garde" if we understand the expression, in terms of its etymological derivation, as implying a union of the socially and the artistically progressive. Art historians have always been hard-pressed to explain both the inspiration and specific implications of Courbet's Studio. Courbet quite naturally expected the radical artist to be at war with the ruling forces of society and at times quite overtly, belligerently, and with obvious relish challenged the Establishment to a head-on confrontation. Realism, Courbet declared flatly, is democracy in art.
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