Courbet often painted the rocky grotto at the source of the Loue, the river that flows through his native village, Ornans, in the Franche-Comté region of eastern France. This view is probably one of four he mentioned to the dealer Luquet in the spring of 1864, when he wrote: "I've been to the source of the Loue these last days and made four landscapes about 1 meter 40."
Use your arrow keys to navigate the tabs below, and your tab key to choose an item
Title:The Source of the Loue
Artist:Gustave Courbet (French, Ornans 1819–1877 La Tour-de-Peilz)
Date:1864
Medium:Oil on canvas
Dimensions:39 1/4 x 56 in. (99.7 x 142.2 cm)
Classification:Paintings
Credit Line:H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929
Object Number:29.100.122
Inscription: Signed (bottom center): G. Courbet
[Félix Gérard, père, Paris]; [Durand-Ruel, Paris, until 1872; sold to Schnabacher]; M. Schnabacher (from 1872); M. Darlu, Paris (until 1889; deposited at Durand-Ruel, Paris, May 16 deposit no. 6746, as "Rochers"; sold on August 21 for Fr 7,000 to Durand-Ruel); [Durand-Ruel, Paris, 1889; stock no. 2448, as "La Loue"; sold on August 21 for Fr 15,000 to Havemeyer]; Mr. and Mrs. H. O. Havemeyer, New York (1889–his d.1907); Mrs. H. O. (Louisine W.) Havemeyer, New York (1907–d. 1929; cat., 1931, pp. 86–87, ill.)
Paris. Rond-Point du Pont de l'Alma. "Exposition des œuvres de M. G. Courbet," April 30–November 1867, no. 22 (as "La source de la Loue [Franch-Comté, 1864]," possibly this painting).
Paris. Durand-Ruel. "Exposition rétrospective des oeuvres de G. Courbet aux artistes Franc-Comtois," 1897 [see Fernier 1977].
New York. The Metropolitan Museum of Art. "Loan Exhibition of the Works of Gustave Courbet," April 7–May 18, 1919, no. 16 (as "The Source of the Loue," lent anonymously).
New York. The Metropolitan Museum of Art. "The H. O. Havemeyer Collection," March 10–November 2, 1930, no. 30 [2nd ed., 1958, no. 89].
Baltimore Museum of Art. "An Exhibition of Paintings by Courbet," May 3–29, 1938, no. 12.
New York. World's Fair. "Masterpieces of Art: European & American Paintings, 1500–1900," May–October 1940, no. 263.
Montreal Museum of Fine Arts. "Six Centuries of Landscape," March 7–April 13, 1952, no. 46 (as "La source de la Loue").
New York. The Metropolitan Museum of Art. "Splendid Legacy: The Havemeyer Collection," March 27–June 20, 1993, no. A140.
Sydney. Art Gallery of New South Wales. "Body," September 12–November 16, 1997, no. 34 (as "The Source of the Loue").
Besançon. Musée des Beaux-Arts et d'Archéologie. "Gustave Courbet et la Franche-Comté," September 23–December 31, 2000, no. 62 (as "Source de la Loue").
Los Angeles. J. Paul Getty Museum. "Courbet and the Modern Landscape," February 21–May 14, 2006, no. 23.
Museum of Fine Arts, Houston. "Courbet and the Modern Landscape," June 18–September 10, 2006, no. 23.
Baltimore. Walters Art Museum. "Courbet and the Modern Landscape," October 15, 2006–January 7, 2007, no. 23.
Museum of Fine Arts, Houston. "The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920," February 4–May 6, 2007, no. 26.
New York. The Metropolitan Museum of Art. "Gustave Courbet," February 27–May 18, 2008, no. 111.
THIS WORK MAY NOT BE LENT.
Gustave Courbet. Letter to Jules Luquet. 1864 [published in P. D. Chu., ed., "Letters of Gustave Courbet," Chicago, 1992, p. 243], describes painting four versions of the source of the Loue, each about 140 cm wide.
Gustave Courbet. Letter to Étienne Baudry. June 2, 1875 [English transl. published in P. D. Chu, ed., "Letters of Gustave Courbet," Chicago, 1992, no. 75-11, p. 551], lists it among the paintings he recalls being stored at the Durand-Ruel gallery.
Georges Riat. Gustave Courbet peintre. Paris, 1906, pp. 217, 253, 386, ill. p. 97, as formerly in the Gérard collection; cites Ref. Courbet 1864, and lists one of the versions in the 1867 exhibition.
Charles Léger. Courbet. Paris, 1929, p. 106.
Frank Jewett Mather Jr. "The Havemeyer Pictures." The Arts 16 (March 1930), p. 477, ill. p. 445.
H. O. Havemeyer Collection: Catalogue of Paintings, Prints, Sculpture and Objects of Art. n.p., 1931, pp. 86–87, ill., calls it "Landscape—La source de la Loue" and dates it about 1864.
W. Wartmann. "Die Grotte der Loue." Zürcher Kunstgesellschaft (1946), p. 33, pl. 8a, compares the various versions of the subject.
Josephine L. Allen and Elizabeth E. Gardner. A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art. New York, 1954, p. 22.
Louisine W. Havemeyer. Sixteen to Sixty: Memoirs of a Collector. New York, 1961, p. 194.
Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 2, XIX Century. New York, 1966, p. 122, ill.
Robert Fernier. La vie et l'oeuvre de Gustave Courbet. Vol. 1, Peintures, 1819–1865. Lausanne, 1977, p. 216, no. 387, ill. p. 217, dates it 1864.
Pierre Courthion. L'opera completa di Courbet. Milan, 1985, p. 94, no. 368, ill., calls it "La sorgente della Loue".
Frances Weitzenhoffer. The Havemeyers: Impressionism Comes to America. New York, 1986, pp. 117, 257, pl. 72, notes that in 1897 Durand-Ruel had recently secured this painting for the Havemeyers.
Ann Dumas in Sarah Faunce and Linda Nochlin. Courbet Reconsidered. Exh. cat., Brooklyn Museum. Brooklyn, 1988, pp. 153, 189, identifies the other three versions of the source of the Loue in the Albright-Knox Art Gallery, Buffalo, the National Gallery of Art, Washington, and the Hamburger Kunsthalle.
Douglas E. Edelson et al. inCourbet Reconsidered. Exh. cat., Brooklyn Museum. Brooklyn, 1988, pp. 74, 85.
Jean-Luc Mayaud in "Courbet à découvert." Courbet et Ornans. Paris, 1989, p. 87, ill. p. 93 (color).
Klaus Herding. Courbet: To Venture Independence. New Haven, 1991, pp. 137–38, 245 n. 12, cites the source of the Loue series as an example of Courbet's dematerialization of the image through loosely painted structure.
Louisine W. Havemeyer. Sixteen to Sixty: Memoirs of a Collector. Ed. Susan Alyson Stein. 3rd ed. [1st ed. 1930, repr. 1961]. New York, 1993, pp. 186, 194, 329 n. 259, p. 330 n. 272, p. 342 n. 425.
Susan Alyson Stein inSplendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 210.
Gretchen Wold inSplendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 315, no. A140, ill. p. 314, adds early provenance information.
Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 425, ill.
Anthony Bond, Sarah Faunce, Suzannah Biernoff, Caroline Butler-Bowdon inBody. Ed. Anthony Bond. Exh. cat., Art Gallery of New South Wales, Sydney. Melbourne, 1997, pp. 22, 24, 79 n. 16, pp. 105, 173, no. 34, fig. 17, date it about 1865.
Gustave Courbet et la Franche-Comté. Exh. cat., Besançon, Musée des Beaux-Arts et d'Archéologie. Paris, 2000, p. 112, no. 62, ill (color), dates it between 1863 and 1864.
Valérie Bajou. Courbet. Paris, 2003, pp. 247–49, 415 n. 49, ill. (color).
Charlotte Eyerman in Mary Morton and Charlotte Eyerman. Courbet and the Modern Landscape. Exh. cat., J. Paul Getty Museum. Los Angeles, 2006, pp. 82–83, 135, no. 23, colorpl. 23.
Kathryn Calley Galitz inThe Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, pp. 46, 200, no. 26, ill. (color and black and white).
Linda Nochlin. Courbet. New York, 2007, p. 196, fig. 87, calls it "Grotto of the Loue".
Charles Stuckey inThe Repeating Image: Multiples in French Painting from David to Matisse. Ed. Eik Kahng. Exh. cat., Walters Art Museum. Baltimore, 2007, pp. 97, 107.
19th Century European Paintings. Sotheby's, London. May 30, 2008, p. 254, under no. 321, fig. 1 (color), identifies lot no. 321 as the study for this painting.
Laurence des Cars inGustave Courbet. Exh. cat., The Metropolitan Museum of Art. New York, 2008, pp. 263, 266–68, no. 111, ill. (color) [French ed., Paris, 2007], calls the "Source of the Loue" series "the most personal of Courbet's responses to Ingres".
Aruna D'Souza. Cézanne's Bathers: Biography and the Erotics of Paint. University Park, Pa., 2008, p. 36.
Klaus Herding inCourbet: A Dream of Modern Art. Ed. Klaus Herding and Max Hollein. Exh. cat., Schirn Kunsthalle Frankfurt. Ostfildern, 2010, p. 214, under no. 60.
Denis Coutagne inCourbet / Cézanne: La vérité en peinture. Ed. Denis Coutagne. Exh. cat., Musée Gustave Courbet, Ornans. Lyons, 2013, pp. 33, 35, 38–39, fig. 7 (color).
Pascal Reilé inCourbet e la natura. Exh. cat., Palazzo dei Diamanti. Ferrara, 2018, p. 83.
Mary Morton inCourbet e la natura. Exh. cat., Palazzo dei Diamanti. Ferrara, 2018, pp. 175–77 n. 2, fig. 64 (color).
Briony Fer inGerhard Richter: Painting After All. Exh. cat., The Metropolitan Museum of Art. New York, 2020, p. 67, fig. 50 (color).
Paul Galvez. Courbet's Landscapes: The Origins of Modern Painting. , New Haven, 2022, p. 59, fig. 21 (color), notes that, with its inclusion of the stone and wood construction at left, it is the only one of Courbet's paintings of the source of the Loue that intimates its use as a preindustrial form of power.
Petra ten-Doesschate Chu. "Courbet and the Source of the Lison: Geological Curiosity, Industrial Power Source, and "Natural Site of an Artistic Character"." At the Source: A Courbet Landscape Rediscovered. Ed. André Dombrowski Lynn Marsden-Atlass. Exh. cat., Arthur Ross Gallery. Philadelphia, 2023, pp. 30–31 nn. 3, 17, argues that this painting should be dated in the second half of the 1860s.
This composition exists in an etching by Charles Waltner (see Lemonnier 1878) and a wood engraving by Fortuné L. Méaulle (see J. Bruno, Les Misères des gueux, 1872, p. 8, reversed; signed Meaulle d'ap. Courbet).
Courbet mentions in a letter of 1864 that he painted four versions of the source of the Loue. The three others are in the Albright-Knox Art Gallery (Fernier no. 109), the National Gallery of Art, Washington (F393), and the Hamburger Kunsthalle (F394).
Gustave Courbet (French, Ornans 1819–1877 La Tour-de-Peilz)
ca. 1868–77
Resources for Research
The Met's Libraries and Research Centers provide unparalleled resources for research and welcome an international community of students and scholars.
The Met Collection API is where all makers, creators, researchers, and dreamers can connect to the most up-to-date data and public domain images for The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.
Feedback
We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please complete and submit this form. The Museum looks forward to receiving your comments.
