His work developed along lines unthought-of by either Delacroix or Courbet.
After the sixties the influence of Courbet began to be directly felt.
His “Old Musician,” executed with diligence but trivial in its realism, had the appearance of being a tolerable Courbet.
Courbet was considered an ignorant, vulgar and brutal peasant.
Courbet transferred his studio to the barracks and made sketches by torch-light.
Champfleury was the only friend of Courbet who dared defend him.
But Courbet was no more a realist than Whistler if realism means truth.
His intentions were those of Courbet pushed to greater freedom.
His first works under Courbet and Manet were no better than those of Hankwan.
He preferred Courbet as a painter, and studied him sedulously.