Before and after 1855, Courbet drew a series of woman body paintings with high realistic level, such as The Sleepers (collected by Matisse in Nice), The Girl's Dream (owned by a private collector in Winterthur), Frankfurt Woman (owned by Zurich Art Museum) and a fat painting Glenor Aunt (preserved in Chicago Academy of Fine Arts). The images of these women mainly came from the real life and showed the simplicity of life with rich artistic charm. The critic Carsten sincerely felt happy and said Courbet no longer drew those vulgar labor nudes and began to pay attention to the Paris people's appreciation. Subsequently, his works were successfully sold. Courbet gradually lost his own control. And in a conference in Antwerp in 1861, he said, "I argue denying the ideal and everything that is associated with this thing. And I am in favor of the full personality liberation and democracy."

Five years later, he took out the amazing woman body painting Woman with a Parrot in a fair, which was quite different from the previous realistic painting style. The naked woman was lying on a bed covered with white sheets and the female nude was more seductive under the contrast of the white. The modeling was very precise and the woman's hair and the parrot on her left hand strengthened the body's charm, giving people some pornographic means. Courbet used so bold composition which was not often seen in his previous works. Naked skin was demonstrated embellish in the dark environment and the stretched curve once again showed Courbet's realistic skills and ability. It was said that before the salon, the single lines in Manet's Olympia once caused the strong criticism, which made Courbet produce a compromise psychology. The irresistible personality of him disappeared and he used the best artistic art skills to create his natural realistic essence of aesthetics. There was no doubt that this painting was the masterpiece in his later artistic career, although this artistic attitude was accused by the writer Zola who was once very supportive.

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