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 (ko͞or-bā′, -bĕ′), Gustave 1819-1877.
French painter known for his realistic depiction of everyday scenes. His works include Burial at Ornans (1850) and The Artist's Studio (1855).
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.


(French kurbɛ)
(Biography) Gustave (ɡystav). 1819–77, French painter, a leader of the realist movement; noted for his depiction of contemporary life
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014



Gustave, 1819–77, French painter.
Random House Kernerman Webster's College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.
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Noun1.Courbet - French painter noted for his realistic depiction of everyday scenes (1819-1877)Courbet - French painter noted for his realistic depiction of everyday scenes (1819-1877)
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References in periodicals archive ?
Major museum exhibitions of Courbet are rare in the US (the last one was at the Brooklyn Museum almost twenty years ago).
In Selbstportrat mit fremdem Kopf (Self-Portrait with Someone Else's Head), 2004, he seems to echo the portraiture of Manet and Courbet, yet the title signals his occupation of a realm made suddenly vulnerable.
Employing aspects of allegory, documentation, and performance informed by a lineage extending from Courbet to Nauman, Wallace likewise questions the mythology of the studio yet reaffirms its validity as a space for thinking, writing, and making.
Henning positions himself as an heir to all those whose work has displayed a flair for the lush and the strange, from the painters of the Baroque to Courbet, Manet, the post-Impressionists, Matisse, and more recently, the likes of Sigmar Polke, Eric Fischl, and David Salle.
Current as they are, Dodge's works radiate a nineteenth-century mentality expressed by the likes of Baudelaire and Courbet: a drive to describe the spirit and beauty of one's age, even in the midst of its ugliness.
Mollino's props were as standard as those of any painter or studio photographer; one is inevitably reminded of the long and intimate relationship between pornographic fantasy and art, from Delacroix's harem paintings and Courbet's L'Origine to Picasso's Demoiselles and Picabia's kitsch pinups.
About one hundred paintings and works on paper by Manet as well as his forerunners (Courbet) and successors (Whistler) complete the picture.
Surface irregularities, in particular the crusty faces carved out with a palette knife, convey horror-movie disfigurement no less than art-historical references, e.g., Courbet.