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Career: 1830–1864 |
After the "Three Glorious Days" of the July Revolution of 1830 (it is unknown if Daumier participated in actual street fighting), a number of new illustrated satirical journals emerged in Paris. These were left-wing publications, intended for the working classes. They were largely driven by the idea that the 1830 Revol... |
Daumier's caricature of King Louis Philippe, titled Gargantua, was published in December 1831. He was brought to court in February 1832 and charged with "inciting to hatred and contempt of the government and insulting the king": 39 p. and sentenced to six months imprisonment with a fine of 500 francs. However, his sen... |
After his release from prison on February 14, 1833, Daumier, who had been living with his parents up that time, moved into an artist phalanstery on Rue Saint-Denis, where his friends included Narcisse Virgilio Díaz, Paul Huet, Philippe Auguste Jeanron, Alexandre-Gabriel Decamps, and Antoine-Augustin Préault.: 15 p. : 1... |
On February 2, 1846, a seamstress named Alexandrine Dassy gave birth to Daumier's illegitimate son, who was named Honoré Daumier. The couple were married on April 16, 1846.: 39 pp. They moved to 9 Quai d'Anjou, on the Ile Saint-Louis in 1846 where they lived until 1863. One author described the Ile-Saint-Louis at that... |
The Revolutions of 1848 brought allied liberal, democratic leaders to power in France for a time.: 150 p. When a painting competition for an allegory of the new Republic was announced, Gustave Courbet abstained, and encouraged his friend Daumier to submit a piece. About one hundred artist submitted sketches and desig... |
Starting around 1853, he often spent summer months visiting Valmondois and Barbizon, where Corot, Daubigny, Millet, Rousseau, and others were painting, deepening his ties and friendships with the artist of the Barbizon School.: 31 & 40 p. : 152 p. By the mid to late 1850s Daumier had reached new levels of artistic mat... |
Later years: 1865–1879 |
Daumier spent the summer of 1865 in Valmondois, north of Paris with Théodore Rousseau, who was in declining health, and soon he left Montmartre permanently and rented a small cottage in Valmondois, where he lived for the remainder of his life. Although he had touched on the theme as early as 1850, he started working on... |
Although he was living a humble life away from Paris, in poverty and debt, and with failing eyesight, some belated recognition of his life's work begin to appear in the last years and months of his life. The Second French Empire intended to award Daumier the Legion of Honor; however, he discreetly declined, feeling it ... |
Art |
Paintings |
As a painter, Daumier was one of the pioneers of realistic subjects, which he treated with a point of view critical of class distinctions. |
Although associated with the realist movement, he did not identify himself as realist or advocate the ideology of realism in the way Gustave Courbet and others did. The art historian Maurice Raynal commented on his relationship with realism "this was not outcome of methods he deliberately chose or took from others. The... |
Daumier's paintings were radical for the time. One author stated " The uncouthness that some connoisseurs of the time saw in Rembrandt's painting, which was described as "ridiculous" and "disgraceful," was accepted in his prints, which did not have the same function or the same public (just as for some people Daumier ... |
Daumier would often set out with a new idea, painting the same subject repetitively, as many as 20 times, until he felt satisfied the theme was exhausted.: 31 pp. Some of the subjects he repeatedly explored include: doctors, lawyers and the judicial system, theater and carnival subjects often in stage lighting (includ... |
His paintings did not meet with success until 1878, a year before his death. Except for the searching truthfulness of his vision and the powerful directness of his brushwork, it would be difficult to recognize the creator of Robert Macaire, of Les Bas bleus, Les Bohémiens de Paris, and the Masques, in the paintings of ... |
Sculptures |
Daumier was not only a prolific lithographer, draftsman and painter, but he also produced a notable number of sculptures in unbaked clay. In order to save these rare specimens from destruction, some of these busts were reproduced first in plaster. Bronze sculptures were posthumously produced from the plaster. The major... |
Eventually Daumier produced between 36 busts of French members of Parliament in unbaked clay. The foundries involved from 1927 on to produce a bronze edition were Barbedienne in an edition of 25 & 30 casts and Valsuani with three special casts based on the previous plaster castings from the gallery Sagot - Le Garrec cl... |
From the early 1950s on, some baked clay 'Figurines' appeared, most of them belonging to the Gobin collection in Paris. It was Gobin who decided to have a bronze cast done by Valsuani in an edition of 30 each. Again, they were posthumous and there is no proof, in contrast to the busts mentioned above, that these terra ... |
Daumier created many figurines that he subsequently used as models for his paintings. One of Daumier's most well-known figurines, titled The Heavy Burden, features a woman and her child. The woman is carrying something, possibly a large bag; the figurine is about 14 inches tall. Oliver W. Larkin states that "One sees i... |
Daumier made several paintings of The Heavy Burden. The woman and her child look like they are being pushed by the wind, and Daumier used this as a metaphor of the greater forces they were actually fighting against. The woman and her child in the painting are outlined by a very dark shadow. |
Prints and graphics |
Daumier produced his social caricatures for Le Charivari, in which he held bourgeois society up to ridicule in the figure of Robert Macaire, hero of a popular melodrama. In another series, L'histoire ancienne, he took aim at the constraining pseudo-classicism of the art of the period. In 1848 Daumier embarked again on ... |
Around the mid-1840s, Daumier started publishing his famous caricatures depicting members of the legal profession, known as 'Les Gens de Justice', a scathing satire about judges, defendants, attorneys and corrupt, greedy lawyers in general. A number of extremely rare albums appeared on white paper, covering 39 differen... |
In 1834 he produced the lithograph Rue Transnonain, 15 April 1834 depicting the massacre in the Rue Transnonain which was part of the April 1834 riots in Paris. It was designed for the subscription publication L'Association Mensuelle. The profits were to promote freedom of the press and defrayed legal costs of a lawsui... |
Legacy |
Baudelaire noted of him: l'un des hommes les plus importants, je ne dirai pas seulement de la caricature, mais encore de l'art moderne. (One of the most important men, not only, I would say, in caricature, but also in modern art.) Vincent van Gogh was also a great admirer of his work. The first of many monographs on Da... |
A version of Don Quixote and Sancho Panza was found as part of the 2012 Munich Art Hoard. |
Daumier's 200th birthday was celebrated in 2008 with a number of exhibitions in Asia, America, Australia and Europe. There is a room-full of caricatures in the museum Am Römerholz in Winterthur. |
The Daumier website lists all Daumier exhibitions starting from 1848 to present day. Daumier website |
Complete catalogue |
The Daumier Register, an internet access to all known oil paintings, drawings, lithographs, woodcuts and sculptures by Daumier, with in-depth research results, provenance information, exhibitions, publications and numerous search functions, was launched in April 2011. |
Exhibitions |
A list of almost 1,500 Daumier Exhibitions starting as early as 1849 until present time in the Daumier Website: Daumier exhibits and conferences |
Galleries |
Prints and graphics |
Sculpture |
Drawings and watercolors |
Paintings 1842‒1879 |
(Daumier rarely dated his paintings and experts frequently disagree on establishing dates) |
References |
Since 2000, there has been a comprehensive, trilingual digital catalogue raisonné, the Daumier Register. It contains all of Daumier's works with detailed specifications and background information (lithographs, woodcuts, sculptures, drawings, oil paintings, lithographic stones, woodblocks) and is constantly updated with... |
External links |
Media related to Honoré Daumier at Wikimedia Commons |
Quotations related to Honoré Daumier at Wikiquote |
Daumier works at National Gallery of Art |
Daumier Website, complete website on Daumier's life and work; Bibliography, Exhibitions etc. |
Daumier-Register comprehensive, trilingual digital catalogue raisonné containing all of Daumier's works with detailed specifications and background information (lithographs, woodcuts, sculptures, drawings, oil paintings, lithographic stones, woodblocks) and is constantly updated with new findings. |
Daumier's biography, style and critical reception |
Web Gallery of Art |
Daumier Lithographs and some information at Brandeis University |
Prints at the Art Institute of Chicago |
Honoré Daumier (French, 1808 – 1879) on MutualArt.com |
Works at the Musée d'Orsay: paintings and especially good selection of sculptures Archived 2021-02-24 at the Wayback Machine |
Daumier an unusual exhibition on YouTube A not so serious guide to an exhibition of 19th century French caricatures by Honoré Daumier, supplied by the Daumier-Register |
Honoré Daumier at Find a Grave |
Website featuring a selection of Daumier videos by the Daumier Register and 500 photographs of Daumier lithographs Archived 2021-02-24 at the Wayback Machine |
Daumier Drawings, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF) |
Honoré Daumier in American public collections, on the French Sculpture Census website |
Émile Jean-Horace Vernet (French pronunciation: [emil ʒɑ̃ ɔʁas vɛʁnɛ]; 30 June 1789 – 17 January 1863) more commonly known as simply Horace Vernet, was a French painter of battles, portraits, and Orientalist subjects. |
Biography |
Early career |
Vernet was born to Carle Vernet, another famous painter, who was himself a son of Claude Joseph Vernet. He was born in the Paris Louvre, while his parents were staying there during the French Revolution. Vernet quickly developed a disdain for the high-minded seriousness of academic French art work which was distinguish... |
Restoration France |
He gained recognition during the Bourbon Restoration for a series of battle paintings commissioned by the duc d'Orleans, the future King Louis-Philippe. Critics marvelled at the incredible speed with which he painted. Many of his paintings made during this early phase of his career were "noted for their historical accu... |
Over the course of his long career, Horace Vernet was honoured with dozens of important commissions. King Louis-Philippe was one of his most prolific patrons, and the whole of the Constantine room at the Palace of Versailles was decorated by him, in the short space of three years. The King requested that he paint a gal... |
Later career |
His depictions of Algerian battles, such as the Capture of the Smahla and the Capture of Constantine, were well received by other French people, as they were vivid depictions of their army in the heat of battle. After the fall of the July Monarchy during the Revolution of 1848, Vernet discovered a new patron in Napoléo... |
Vernet also developed an interest in daguerreotype photography. He took photographs in Egypt as reference material for his paintings, and during a stop at Malta in March 1840 while en route to Egypt, he took the earliest known photographs of the island at Fort Manoel. Today these early photographs are believed to be lo... |
His nephew Frédéric Goupil-Fesquet, also a painter and his pupil, wrote Voyage d'Horace Vernet en Orient (2 volumes, 1844). |
Vernet died in his hometown of Paris in 1863. |
Literary references |
In Arthur Conan Doyle's Sherlock Holmes story "The Adventure of the Greek Interpreter", Holmes claims to be related to Vernet, stating, "My ancestors were country squires... my grandmother... was the sister of Vernet, the French artist", without further clarifying whether this is Claude-Joseph Vernet, Carle Vernet, or ... |
Gallery |
References |
Further reading |
Dayot, Armand (1898). Les Vernet : Joseph—Carle—Horace. Paris: A. Magnier. |
Harkett, Daniel and Katie Hornstein, eds, (2017). Horace Vernet and the Thresholds of Nineteenth-Century Visual Culture. Dartmouth College Press/University Press of New England. |
Ruutz-Rees, Janet E. (Janet Emily) (1880). Horace Vernet. New York: Scribner and Welford. |
Sessions, Jennifer E. (2011), By Sword and Plow: France and the Conquest of Algeria. Cornell University Press. |
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