R. Crumb and the Power of Bad Press

Courbet embraced this uncivilized persona, played along with his critics, and even cultivated outrage. Anything that causes a stir, after all, brings publicity. In 1855, when the Salon—the official art exhibition in France—accepted several of his paintings except one, "The Artist's Studio," Courbet put up an oppositional show called "The Pavilion of Realism." He repeated the gesture in 1867, when he showed about 140 works in a personal exhibition on the Place de l'Alma. In doing so, Mansfield says, "He created a rejection of his work that didn't really exist."

But Courbet also felt the sting of criticism. When the Salon refused to show his painting, "Venus and Psyche," on account of its "indecency," Courbet was left in the dark, frustrated and anxious. In 1864 he wrote in a letter, "It is impossible for me to continue to exhibit. It is a tricky business. These people want revenge at all cost... With all these troubles, I have internal hemorrhoids that are killing me. I am literally unable to work. I am into leeches, into baths, armed with a syringe, and I am up all night."

Edouard Manet felt similarly despondent after his painting, "Olympia," was shown at the French Salon in 1865. Reviewers said it "recalls the horror of the morgue," and that "the color of the flesh is dirty, the modeling non-existent." Others wrote, "I do not know whether the dictionary of French aesthetics holds expressions to characterize her...her face [is] stupid, her skin cadaverous," and the artist is "a brute who paints green women with dish brushes." Young or pregnant women were warned that they should "flee this spectacle."

But a couple years later, Manet put on his own anti-Salon show. The catalogue stated: "The first stage in an artist's career is a battle, which at least should be fought on equal terms, that is to say that the artist should be able to show the public what he has done." Otherwise, "he would be forced to make a pile of his canvases or roll them up in the attic... Monsieur Manet has never wished to protest. On the contrary, the protest, entirely unexpected on his part, has been directed against himself...By exhibiting, an artist finds friends and allies."

When defying critics in the showroom won't suffice, other artists have gone to court. American artist James Whistler sued John Ruskin, who reviewed his 1875 work "Nocturne in Black and Gold: The Falling Rocket," by condemning the painting, the artist, and the gallery. "The Grosvenor Gallery ought not to have admitted works into the gallery in which the ill-educated conceit of the artist so nearly approached the aspect of willful imposture," Ruskin wrote in the November 1878 Fors Clavigera newsletter. Whistler won his case, although wound up losing money on legal fees after he was awarded only a farthing.

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