THE WANDERING JEW, KUMARI VAIM AND GUSTAVE COURBET
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https://en.wikipedia.org/wiki/The_Meeting_(Courbet)
The Meeting or "Bonjour, Monsieur Courbet" (French: La rencontre, ou "Bonjour Monsieur Courbet") is an oil-on-canvas painting by Gustave Courbet, made in 1854. It depicts the artist on his way to Montpellier meeting his patron Alfred Bruyas, his servant Calas, and his dog Breton. One of Courbet's most popular works, it also serves as one of the artist's most emblematic contributions to the 19th-century movement of Realism.[1]: 214 The composition is based on the myth of the Wandering Jew.[1]/.../
Courbet closely associated himself with many of the essential qualities of the Wandering Jew, who is both consigned to the margins of society and free to roam. As an artist, he built up a self-image as a voyager living in touch with the land and the countryside. Courbet wrote in 1850 that "[I] must even free myself from governments... I have, therefore, just started out on the great, wandering, and independent life of the gypsy." This lifestyle he sought to adopt was closely tied to how he viewed himself, as Nochlin would put it, as the "traveling apostle of realism."[4]: 216
Courbet incorporated the Wandering Jew into two other works: The Apostle, Jean Journet, Setting Off for the Conquest of Universal Harmony (1850) and A Beggar's Alms (1868).[4]: 215
The Wandering Jew
The Meeting's composition takes direct inspiration from the Wandering Jew, the popular legend of a wanderer bound to trek for eternity for condemning Christ.[5]: 35 The image was well known in the 19th century, so much so that a common viewer of the painting would have likely picked up on Courbet's reference.[3]: 112 Among art historians, the source was first identified in a 1967 article by Linda Nochlin, who suggested that Courbet probably took inspiration from a particular work made known to him through Champfleury, a French critic, friend of Courbet's, and advocate of realist art.[4]: 209–210 The work would later appear as the cover of Champfleury's essay "Le Juif-errant", and depicts two burghers (bourgeois men) meeting the Wandering Jew alongside a country road. Courbet flips the orientation of the figures in The Meeting, such that the burghers are on the left rather than the right. Nochlin suggests Courbet did so to draw attention to himself, however, it remains possible that Courbet saw a reversed version of the print or even an entirely different image.[4]: 209Courbet closely associated himself with many of the essential qualities of the Wandering Jew, who is both consigned to the margins of society and free to roam. As an artist, he built up a self-image as a voyager living in touch with the land and the countryside. Courbet wrote in 1850 that "[I] must even free myself from governments... I have, therefore, just started out on the great, wandering, and independent life of the gypsy." This lifestyle he sought to adopt was closely tied to how he viewed himself, as Nochlin would put it, as the "traveling apostle of realism."[4]: 216
Courbet incorporated the Wandering Jew into two other works: The Apostle, Jean Journet, Setting Off for the Conquest of Universal Harmony (1850) and A Beggar's Alms (1868).[4]: 215
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