In the context of L'Origine du monde, discuss the Identity of the model of the History.
Art historians had speculated for years that Courbet's model for L'Origine du monde was his favourite model, Joanna Hiffernan, also known as Jo. Her lover at the time was the American painter James Whistler, a friend of Courbet.
Hiffernan was the subject of a series of four portraits by Courbet titled Jo, la belle Irlandaise (Jo, the beautiful Irishwoman) painted in 1865–66. The possibility that she was the model for L'Origine du monde or that she was having an affair with Courbet might explain Courbet's and Whistler's brutal separation a short while later. In spite of Hiffernan's red hair contrasting with the darker pubic hair of L'Origine du monde, the hypothesis that Hiffernan was the model continues. Redhead Jacky Colliss Harvey puts forward the idea that the woman's body hair suggests a more obvious candidate might be the brunette painted with Hiffernan in Courbet's Le Sommeil; and that the identification with Hiffernan has been greatly influenced by the eroticised and sexualised image of the female redhead.
In February 2013, Paris Match reported that Courbet expert Jean-Jacques Fernier had authenticated a painting of a young woman's head and shoulders as the upper section of L'Origine du monde which according to some was severed from the original work. Fernier has stated that because of the conclusions reached after two years of analysis, the head will be added to the next edition of the Courbet catalogue raisonné. The Musée d'Orsay has indicated that L'Origine du monde was not part of a larger work. The Daily Telegraph reported that "experts at the [French] art research centre CARAA (Centre d'Analyses et de Recherche en Art et Archéologie) were able to align the two paintings via grooves made by the original wooden frame and lines in the canvas itself, whose grain matched." According to CARAA, it performed pigment analyses which were identified as classical pigments of the 2nd half of the 19th century. No other conclusions were reported by the CARAA. The claim reported by Paris Match was characterized as dubious by Le Monde art critic Philippe Dagen, indicating differences in style, and that canvas similarities could be caused by buying from the same shop.Documentary evidence however links the painting with Constance Quéniaux, a former dancer at the Paris Opera and a mistress of the Ottoman diplomat Halil Şerif Pasha (Khalil Bey) who commissioned the painting. According to the historian Claude Schopp and the head of the French National Library's prints department, Sylvie Aubenas, the evidence is found in correspondence between Alexandre Dumas fils and George Sand. Another potential model was Marie-Anne Detourbay, who also was a mistress of Halil Şerif Pasha.
James Whistler George Sand Halil Şerif Pasha Paris Opera Alexandre Dumas fils Philippe Dagen Le Sommeil Constance Quéniaux Joanna Hiffernan catalogue raisonné Musée d'Orsay Paris Match French National Library Marie-Anne Detourbay fr The Daily Telegraph red hair Le Monde