The New Yorker, by Peter Schjeldahl - “I painted the picture so that it would be refused. I have succeeded. That way it will bring me some money,” Gustave Courbet remarked of a large painting of drunken clerics, “The Return from the Conference,” which he had sent to the Paris Salon of 1863. At forty-four years old, the most renowned artist of his generation in Europe, he had long been included automatically in the annual Salon, without jury review, so having a work barred took special doing. “The Return” was one of three grand provocations that Courbet conceived in the late eighteen-fifties and early sixties as assaults on as many pillars of French society: the Church, the Army, and the academy.

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