French artist Gustave Courbet was supposedly as impetuous and rude as any NYC Le Pain Quotidien waiter, should you ever dare order a Diet Coke. Though no one (i.e., me) minds very much since he made up for a multitude of arrogance by being talented enough to paint arresting self portraits--hands free, according to the pic at left--while (I might add) looking exactly like God's finer attempt at Johnny Depp.
Courbet was prone to get down on the academy--no not that academy, Joaquin, but The Paris Salon.
Just for fun though, let's pretend Courbet is alive today and his medium is film. The quote below cites this French realist's attitude toward cinematic over-rendering vs. substantive thinking (aka 'less is more' as it applies to artful filmmaking).
"Academic art was first criticized for its use of idealism, by artists (such as Courbet), as being based on idealistic clichés and representing mythical and legendary motives while contemporary social concerns were being ignored. Another criticism by Realists was the "false surface" of paintings—the objects depicted looked smooth, slick, and idealized—showing no real texture. The Realist Théodule Ribot worked against this by experimenting with rough, unfinished textures in his painting." Also "One effect of the move to academies was to make training more difficult for women artists, who were excluded from most academies."
Respected American film theorist and historian David Bordwell articulately (in this extremely worthwhile post) examines art cinema savoir-faire against Hollywood exposition and stereotypes.
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