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716:(now in the Musée d'Orsay) that was very well received, and included among the 20 finalist. The finalist were expected to enlarge and articulate their submissions into more finalized designs. However Daumier, who was notorious for failing deadlines and poor punctuality, never followed through with an advanced painting. The following year, he received a commission for a painting from the Ministry of the Interior, via the Académie des Beau-Arts, requesting a sketch for approval, for a sum of 1,000 francs. Five months later the sum was raised to 1,500 francs. The Académie des Beau-Arts pursued the issue for 14 years, yet Daumier never produced a sketch or a painting, although he had accepted advances in payment. Ultimately he gave the government a gouache in 1863,
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above, that these terra cotta figurines really were done by
Daumier himself. The American school (J.Wasserman from the Fogg-Harvard Museum) doubts their authenticity, while the French school, especially Gobin, Lecomte, and Le Garrec and Cherpin, all somehow involved in the marketing of the bronze editions, are sure of their Daumier origin. The Daumier Register (the international center of Daumier research) as well as the National Gallery of Art in Washington DC would consider the figurines as 'in the manner of Daumier' or even 'by an imitator of Daumier' (NGA)
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376:), was just coming into vogue in France about this time. Lithography studios were emerging in Paris to fill demands for inexpensive illustrated papers and periodicals in a time of social and political upheaval. Daumier learned lithography from Charles Ramelet (1805–1851) and found work with Zéphirin Belliard (1798–1861), producing (often anonymously), miscellaneous illustrations, advertisements, street scenes, portraits, and caricatures in the mid to late 1820s, albeit honing his craft through the years.
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751:. By the mid to late 1850s Daumier had reached new levels of artistic maturity and increasingly wished to devote himself to painting. He was growing tired and weary of the grind and endless routine of producing new cartoons at a steady rate of two, three, sometimes as many as eight a week, yet he was dependent on the income. After 30 years of steadfast production, his caricatures were declining in popularity with the public, and in 1860
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watercolors depicting scenes of contemporary
Parisian life provided him with some minimal income. Daumier exhibited regularly at the official Salon, although in this period of time it was only held once every two or three years. He suffered a serious illness in 1858. By 1863 Daumier was selling his furniture to raise funds and he left the Ile-Saint-Louis and moved to a succession of lodgings and apartments in
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326:(corresponding nowadays to a framer), a poet and a minor playwright whose literary aspirations led him to move to Paris in 1814, followed by his wife and the young Daumier in 1816. Although Daumier's father succeeded in publishing a book of verse and having an amateur troupe of actors perform his play in 1819, financial success was minimal and the family lived in poverty. At about the age of twelve (
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818:, secretly bought the house Daumier had been renting in 1868 and bestowed it to him as a surprise, in a letter reading: "Dear old comrade: I had a little house at Valnondois, near Isle-Adam, which was of no use to me. It occurred to me to offer it to you, and finding this was a good idea, I had it registered with the notary. It's not for your sake I am doing this, but to annoy the landlord."
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lighting (including actors, musicians, audiences, and backstage scenes), painters and sculpture in their studios, print and art collectors and connoisseurs, working people on the streets of Paris, the working class at leisure around a table (eating, drinking, playing chess), first and third class carriages, emigrants or refugees in flight, and
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638:, who soon became a close friend and advocate of his work. Baudelaire contributed to a set of essays published in 1852 celebrating Daumier's lithographs and prints calling him "one of our leading men, not only in caricature, but in modern art." In time, Daumier gained the respect and was on friendly terms with artist such as
456:" 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 Revolution which brought
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in Paris. Although the public had seen an occasional canvas in the salons, this was the first time the full scope and range of
Daumier's work was exhibited. It was not the financial success his friends had hoped for, but it was very well received by both the public and critics, and a decisive turning
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was a relatively new form of printmaking in the early 19th century, invented in
Germany in the late 1790s. It was a fast and cheap method of mass-producing prints compared to the traditional practices of engraving and etching. Likewise, the art of the caricature, which was relatively established and
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were passed in 1835, limiting the freedom of the press. Afterwards, his cartoons softened, the bourgeoisie and daily
Parisian life were more frequent subjects, and when political subjects did appear they were oblique and vailed. Daumier experienced financial hardships and debt throughout much of his
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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,
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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
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dropped him from their staff and ceased to publish his cartoons. While the next few years were a time of financial hardship and struggle, they were also years with free time to devote to painting, and a time of great productivity and artistic growth. An emerging market for
Daumier’s highly finished
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and
Daumier's lithographs began to change, turning away from direct political affronts, to lighter and humorous cartoons satirizing broader aspects of society, the bourgeoisie, at times scathingly, at other times affectionately. From 1835 to 1845 Daumier lived in the vicinity of Rue de l'Hirondelle
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again offered
Daumier the Legion of Honor and again he declined, although he was later granted a pension of 200 francs a month (2,400 annually) in 1877, which was increased to 400 a month (4,800 annually) in 1878. A circle of his friends and admirers arranged a large exhibition of his paintings at
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in 1846 where they lived until 1863. One author described the Ile-Saint-Louis at that time as "still a place apart, 'a little provincial town' in the midst of Paris", where toll bridges discouraged casual traffic and artists could find freedom and inexpensive rent. Although Daumier had been doing
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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
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in earnest about 1866 or 1867, painting many canvases on the subject over the next few years. He started experiencing failing eyesight around 1865 or 1866 which progressed with time, although he was still producing drawings and poster designs as late as 1872. He continued to exhibit at the Paris
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granted him a pension in 1877, and the following year a major exhibition of his paintings was held in Paris, which received significant recognition in the final months of his life. Daumier died in February of 1879. Various sources give conflicting dates regarding the day of his death: some state
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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
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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
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Salons for several years, although the canvases he submitted were often over ten years old. In 1864 he had made 100 lithographs and received 400 francs a month, but with very little time to paint. In 1866 he was producing 70 lithographs a year and earning 200 francs a month. In 1870, during the
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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. Some of the subjects he repeatedly explored include: doctors, lawyers and the judicial system, theater and carnival subjects often in stage
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commented on his relationship with realism "this was not outcome of methods he deliberately chose or took from others. The truth is that realism was both a second nature with him and the consequence of the life he led, Actually, however, he never set up as an adept of realism, indeed it never
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163:, for which he became well known in his lifetime and is still remembered today. He was a republican democrat (working class liberal), who satirized and lampooned the monarchy, politicians, the judiciary, lawyers, the bourgeoisie, as well as his countrymen and human nature in general.
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634:. The painter Boissard de Boisdenier was a neighbor with an apartment in the Hôtel Lauzum (a.k.a. Hôtel Pinodan), which was a gathering place for writers, poets, painters, and sculptors where Daumier met many prominent artist of the day. It was there he made the acquaintance of
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covering 39 different legal themes, of which 37 had previously been published in the Charivari. It has been said that Daumier's own experience as an employee in a bailiff's office during his youth may have influenced his rather negative attitude towards the legal profession.
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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
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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
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gave him a new contract in 1864 and he resumed making caricatures for an appreciative audience in Paris. Daumier moved to Valmondois in 1865. He experienced failing eyesight and poverty there, although he continued to produce lithographs and paint, often on the theme of
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1087:(passageway in 1st arrondissement) and subsequently tracked down and confiscated as many of the prints they could find, along with the original lithographic stone on which the image was drawn. Existing prints of Rue Transnonain are survivors of this effort.
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presented him with a new contract in 1864 and he returned to making caricatures and cartoons for a living, and found a receptive audience when he did. By the mid 1860s, a few collectors were starting show some interest in his drawings and watercolors.
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1255:, 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.
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1021:. 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.
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in December 1832, which continued on with much the same content, and even many of the same staff members, including Daumier. On the fifth anniversary of the July Revolution (July 28, 1835), there was an unsuccessful assassination attempt on
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gallery Sagot - Le Garrec clay collection. These bronze busts are all posthumous, based on the original, but frequently restored unbaked clay sculptures. The clay in its restored version can be seen at the Musée d'Orsay in Paris.
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to power, was largely fought and won by the workers, but had been commandeered by the ruling class and bourgeoisie for their own gains and benefits, who in turn were favored by the king. Daumier's first works of note appeared in
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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 20th-century foundries were
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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
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placed him among the romantics, calling him "the one great Romantic artist who did not shrink from reality", in contrast to the historic, literary, and the Near Eastern subjects that characterized much of romantic painting.
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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. They moved to 9 Quai d'Anjou, on the
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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
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to serve his six months. Daumier remained defiant in prison and wrote a number of letters indicating that he was producing lots of drawings "just to annoy the government." The publication of
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and Ile de la Cite. Debt and financial issues were a recurring concern in his life. In one incident in April 1842 his furniture was auctioned off by order of the court to settle his debts.
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401:), consuming a continuous diet of tribute fed to him by various bureaucrats, dignitaries, and bourgeoisie, while defecating a steady stream of titles, awards, and medals in return.
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wrote "With the temperament of a Romantic and the approach of a Realist, Daumier belongs to the Barbizon generation, except that his domain was the human figure and not landscapes"
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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
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some painting for a number of years, it was in the late 1840s that he became increasingly dedicated to painting. He exhibited at the Salon for the first time in 1849, showing
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who, in contrast to the public, often admired Daumier's paintings more than his lithographs. Delacroix thought enough of Daumier's drawings to make copies of them to study.
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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
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painters. Daumier was a tireless and prolific artist and produced more than 100 sculptures, 500 paintings, 1000 drawings, 1000 wood engravings, and 4000 lithographs.
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abstained, and encouraged his friend Daumier to submit a piece. About one hundred artist submitted sketches and designs anonymously to a jury that included
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brought allied liberal, democratic leaders to power in France for a time. When a painting competition for an allegory of the new Republic was announced,
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was also a great admirer of his work. The first of many monographs on Daumier was published less than ten years after his death, by Arsène Alexander,
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516:, 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
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and his imprisonment brought Daumier considerable notoriety, and great popularity among some segments of the public, but little financial gain.
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The Doctor: How the devil does it happen that all of my patients succumb? I bleed them, I physic them, I drug them, I simply can't understand it
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to the fall of the second Napoleonic Empire in 1870. He earned a living producing caricatures and cartoons in newspapers and periodicals such as
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Daumier created many figurines that he subsequently used as models for his paintings. One of Daumier's most well-known figurines, titled
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to which Daumier contributed regularly. The police discovered the print hanging in the window of printseller Ernest Jean Aubert in the
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stopped publishing his comics in 1860. A period of finical hardship followed, and from 1863‒65 he moved to a series of lodgings around
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After his release from prison on February 14, 1833, Daumier, who had been living with his parents up that time, moved into an artist
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in French Paintings of the Nineteenth Century. Part I: Before Impressionism. National Gallery of Art. (accessed March 30, 2024)
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Finally! We have obtained a separation of the wife's and husband's property; Just in time too, the case has ruined both of them
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A not so serious guide to an exhibition of 19th century French caricatures by Honoré Daumier, supplied by the Daumier-Register
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333:–21), Daumier started to work because of his father's breakdown. His father found him a job working as an errand boy for a
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worked. As his desire to paint intensified, his enthusiasm for cartooning declined, as did his popularity with the public.
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Chisholm, Hugh, ed. (1911), "Daumier, Honoré". Encyclopædia Britannica. 7 (11th ed.). Cambridge University Press. p. 849
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2661: : French Nineteenth-Century Sculpture from North American Collections. George Braziller, Inc., New York. 368 pp.
412:(1832), hand-coloured lithograph, 24.6 x 50 cm., British Museum, London: Procession before the throne (left to right):
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where they lived until 1863. He increasingly associated with writers, poets, painters, and sculptors there, including
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some people Daumier the lithographer excused the painter, while for others the painter ennobled the lithographer)".
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Website featuring a selection of Daumier videos by the Daumier Register and 500 photographs of Daumier lithographs
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A list of almost 1,500 Daumier Exhibitions starting as early as 1849 until present time in the Daumier Website:
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point in the perception of Daumier as an important painter. He died several months later, in February of 1879.
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l'un des hommes les plus importants, je ne dirai pas seulement de la caricature, mais encore de l'art moderne.
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Daumier was not only a prolific lithographer, draftsman and painter, but he also produced a notable number of
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528:(1832) was published and he was arrested at his parents apartment in August 1832 and placed in the prison of
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1839:(date unknown), charcoal, pen and ink, & watercolor, 29.3 x 24.9 cm. Hermitage Museum, Saint Petersburg.
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2481:. Le Goût de Notre Temps (The Taste of Our Time), Volume 50. Editions D'Art Albert Skira, Geneva, 127 pp.
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occurred to him to apply the term to his art: still less to repudiate it" At least one art historian,
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The Nineteenth Century: New Sources of Emotion from Goya to Gauguin. The Great Centuries of Painting
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as a literary editor, who is reported to have said of Daumier's lithographs "Why, this fellow's got
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2641:. Editions D'Art Albert Skira, Geneva/ Rizzoli International Publications, Inc., New York 279 pp.
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where he was able to draw from live models and develop friendships with other students including
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Bust of Daumier in Valmondois, France, by the French sculptor Adolphe Victor Geoffroy-Dechaume.
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in 1901. Daumier's works are found in many of the world's leading art museums, including the
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Daumier Website, complete website on Daumier's life and work; Bibliography, Exhibitions etc.
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1824:(1865-68), crayon, watercolor, & gouache. 32.4 × 30.8 cm. Walter Art Museum, Baltimore.
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One of the most important men, not only, I would say, in caricature, but also in modern art.
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3005:, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF)
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1849:(Daumier rarely dated his paintings and experts frequently disagree on establishing dates)
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1684:(1860-79), pen, ink, & charcoal. 32 x 24.5 cm. Metropolitan Museum of Art, New York.
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1485:. (1851), lithograph, 14.88 x 10.13 mm., The Phillips Collection, Washington D. C.
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among others, and began to paint in earnest. He spent his summers from 1853 onward in
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1809:(1864), watercolor, ink, & charcoal. 20.5 x 30 cm. Walter Art Museum, Baltimore.
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The Daumier website lists all Daumier exhibitions starting from 1848 to present day.
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720:(1849, Musée des Beaux-Arts, Calais), that had been exhibited in the solon of 1850.
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Honoré Daumier came from a poor family and was working by the age of 12, first at a
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1771:(c. 1862-1865), pen, ink, charcoal, crayon, & watercolor. image: 20.7 x 30 cm.
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143:; February 26, 1808 – February 10 or 11, 1879) was a French painter, sculptor, and
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1650:(1825-79), lithographic crayon. 20 x 29.7cm. Metropolitan Museum of Art, New York.
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The Heir Apparent, a young child hung on a wall by his nurse, who has gone dancing
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and collapsed after relentless prosecutions and fines from the monarchy. However,
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Works at the Musée d'Orsay: paintings and especially good selection of sculptures
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and his court. He was jailed for several months in 1832 after the publication of
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1515:(1872), lithograph, 25.3 × 22.2 cm., Metropolitan Museum of Art, New York
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where Daumier lived in his later years working on his Don Quixote paintings.
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A Scene from Comedy (1858-1862), oil on panel, 32.5 x 24.5., Musée du Louvre
3165:
2983:
2979:
1940:
1872:
1407:
1036:(1834), lithograph, 29 x 44.5 cm., Bibliothèque nationale de France, Paris
872:
567:
and continued to publish critical and uncompromising lithographs including
502:
338:
159:
661:
2465:, The Library of Great Painters. Harry N. Abrams, Inc., New York, 160 pp.
1897:
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1131:
1127:
938:, or even in the sketches in the Ionides Collection at South Kensington.
919:
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579:(all 1834) and spent long hours in the Louvre. The founder and editor of
540:
469:
were prosecuted and jailed for a time during the short run of the paper.
398:
364:
279:
210:
113:
1613:(1832 - 1835), posthumous bronze cast, Art Institute of Chicago, Chicago
3011:
in American public collections, on the French Sculpture Census website
2705:. Vol. 7 (11th ed.). Cambridge University Press. p. 849.
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2301:(after 1864), oil on panel, 24.8 x 46 cm., Metropolitan Museum of Art
1049:
1044:, in which he held bourgeois society up to ridicule in the figure of
923:
548:
389:
319:
75:
1498:
Nadar in a balloon Nadar, elevating photography to the height of Art
1071:
depicting the massacre in the Rue Transnonain which was part of the
1427:
My God! If my child were born with a pear head, or as Lobau, or as
736:
728:
250:
175:
2686:
This article incorporates text from a publication now in the
1628:(c. 1850–52), plaster, 32.2 x 45.8 cm., Musée d'Orsay, Paris
953:(1850-51), bronze, 45 x 17 x 18 cm., Walters Art Museum, Baltimore
3019:
2898:
2764:, 2nd ed. Harry N. Abrams, Inc., Publishers. New York. 767 pp. ,
2623:
French Painting: The Nineteenth Century. Painting, Color, History
2261:–66), oil on canvas, 27.9 x35.5 cm., The Phillips Collection
1981:
1291:(1834), lithograph, 31.4 x 43.4 cm., Cleveland Museum of Art
485:
invited Daumier to join its staff, a formidable group including
429:
323:
1752:. (1858), charcoal, pen, brush, ink, watercolor, & gouache.
1410:(1839), lithograph, 24.1 x 19.8 cm. Cleveland Museum of Art
2886:
2047:
1993:
1992:–50), 49 x 62.53 cm. gouache on drawing, Musée des Beaux-Arts,
1790:(1864), watercolor, ink wash, & charcoal. 20.5 x 30.1 cm .
1700:
1345:(1840), lithograph, page 34 x 27 cm. Boston Public Library
1119:
2191:–1863), oil on panel, 49.5 x 40 cm., Dallas Museum of Art
1665:(1825-79), watercolor, crayon, chalk, & ink. 33.8 x 27cm.
2824:
2719:. Hamish Hamilton Ltd. (The Penguin Group, London ). 430 pp.
1175:
1134:, a theme that fascinated him for the last part of his life.
732:
723:
Starting around 1853, he often spent summer months visiting
2511:
1075:
in Paris. It was designed for the subscription publication
229:
Daumier married Alexandrine Dassy in 1846 and moved to the
2914:
2651:
1360:(1856), lithograph, 26,5 x 35 cm., Albertina, Vienna
668:(1848), oil on canvas, 73 x 60 cm., Musée d'Orsay, Paris
166:
He was also a serious painter, loosely associated with
1114:, in 1888. An exhibition of his works was held at the
787:), oil on canvas, 51 x 32 cm., Neue Pinakothek, Munich
2951:
Honoré Daumier (French, 1808 – 1879) on MutualArt.com
2557:. Encyclopaedia Britannica. (accessed March 30, 2024)
473:
and Gabriel Aubert, founded another satirical paper,
2239:–67), oil on canvas, 24 x 32 cm., Petit Palais
1242:
Bust of Daumier by Adolphe-Victor Geoffroy-Dechaume.
2348:), oil on canvas, 33.35 x 26 cm. private collection
1718:(early 1860s), pen, ink, & wash. 9.25 X 14 mm.
1598:(1832–35), painted terracotta Musée d'Orsay, Paris
1579:(1832–35), painted terracotta Musée d'Orsay, Paris
1560:(1832–35), painted terracotta Musée d'Orsay, Paris
760:, losing contact with many friends and associates.
2782:
2617:
2615:
2613:
2611:
2169:–64), oil on wood, 25 x 32 cm., private collection
2927:Daumier's biography, style and critical reception
2609:
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2599:
2597:
2595:
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3185:
2737:"Revolutionary Dreams: Investigating French art"
2547:
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2215:), oil on panel, 49 x 34 cm., Musée d'Orsay
799:, who was in declining health, and soon he left
2850:"Photo Gallery: Munich Nazi Art Stash Revealed"
2671:
2633:
2631:
2625:. Editions D'Art Albert Skira, Geneva. 231 pp.
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543:on Rue Saint-Denis, where his friends included
2709:
2588:
2585:. Editions D'Art Albert Skira, Geneva.148 pp.
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1914:(c. 1850-53), oil on paper, 30.8 x 23.97 cm.,
1376:, published in Le Charivari (1864), lithograph
1060:, which he left in 1863 and rejoined in 1864.
481:was folding under pressure from the monarchy.
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424:servants in red; Madier de Montjau tall man;
314:), chalk and conté crayon, Albertina, Austria
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2494:. Yale University Press, New Haven, 208 pp.
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2019:), grisaille on canvas, 160 x 127 cm.,
1391:published in Le Charivari (1864), lithograph
1389:A literary discussion in the second Gallery,
1040:Daumier produced his social caricatures for
318:Daumier was born in the south of France, in
178:. Although he occasionally exhibited at the
170:, sometimes blurring the boundaries between
2073:–64), oil on canvas, 65.4 x 90.2 cm.,
1896:–1850), oil on canvas, 37 x 28.5 cm.,
1633:
3136:(c. 1856–1858, c. 1862–1864, c. 1863–1865)
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524:(1832–1835). Later that year, his cartoon
40:
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2370:–1870), oil on canvas, 40 x 33 cm.,
2119:(1864), oil on canvas, 61 x 82 cm.,
768:
2937:Daumier Lithographs and some information
2910:Daumier works at National Gallery of Art
2691:
1573:Clément François Victor Gabriel Prunelle
1274:
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772:
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2873:constantly updated with new findings.
2842:
2657:Frusco, Peter and H. W. Janson (1980),
2479:Daumier: Étude biographique et critique
2393:"Honoré Daumier: A Finger on the Pulse"
1699:(1825-79), watercolor, 26.6 x 36.7 cm.
287:February 10, 1879, others February 11.
14:
3186:
2946:Prints at the Art Institute of Chicago
2780:
2144:–63), oil on panel, 23.5 x 18.42 cm.,
1844:
1330:, (1839), lithograph, 20 x 19 cm.
1310:(1834), lithograph, 19,6 x 21 cm.
1174:A portrait by the French photographer
1024:
3023:
1939:–55), oil on panel, 16.2 x 28.7 cm.,
1750:Intermission at the Comédie Française
1343:Hey! Waitress, I prefer my soup bald!
1247:
599:had already started another journal,
347:Musée national des Monuments Français
138:
2098:–57), oil on canvas, 40.6 x 33 cm.,
1871:–47), oil on panel, 28.9 x 18.7 cm.
1541:(1832–35), terracotta, Musée d'Orsay
1358:Horse Meat is Healthy and Digestible
791:Daumier spent the summer of 1865 in
379:
273:and lost contact with many friends.
2805:An Introduction to 19th Century Art
1112:Honoré Daumier, l'hommé et l'oeuvre
1067:In 1834 he produced the lithograph
712:. Daumier presented an oil sketch,
448:, head turned in profile to left.
24:
3049:
2789:. New York, New York: McGraw-Hill.
2323:), oil on panel, 32.4 x 24.1 cm.,
1964:), oil on canvas, 131 x 97.1 cm.,
1017:Daumier made several paintings of
866:and others did. The art historian
25:
3285:
3264:Political controversies in France
3214:Burials at Père Lachaise Cemetery
2879:
2535:Honoré Daumier, French, 1808–1879
2395:. Hammer.ucla.edu. Archived from
1436:lithograph, 26,4 x 19,8 cm.
1431:, as Dupin ... For God's sake! A
612:". A couple of months later the "
3274:19th-century French male artists
2897:
2885:
2801:"Rue Transnonain, 15 April 1834"
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2283:), oil on panel, 35.8 x 32 cm.,
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1265:Daumier exhibits and conferences
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2182:Outside the Print Seller's Shop
2046:), oil on canvas, 59 x 56 cm.,
1513:The Witnesses - The War Council
1034:Rue Transnonain, April 15, 1834
632:The Miller, his Son and the Ass
2825:"Vincent van Gogh the Letters"
2385:
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1069:Rue Transnonain, 15 April 1834
826:intended to award Daumier the
13:
1:
2969:Daumier an unusual exhibition
2829:Vincent van Gogh: The Letters
2378:
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2299:Don Quixote and the Dead Mule
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781:
694:Jean-Auguste-Dominique Ingres
477:in 1830, starting up just as
440:, bespectacled & bowing,
327:
308:
305:Portrait of a Girl, Jeannette
47:
3224:French editorial cartoonists
3204:19th-century French painters
3114:Don Quixote and Sancho Panza
2339:Pierrot Strumming the Guitar
2314:Don Quixote and Sancho Panza
1966:Montreal Museum of Fine Arts
1735:Don Quixote and Sancho Panza
1520:
1451:(c. 1850), colour lithograph
1269:
1202:Daumier later in his career.
1139:Don Quixote and Sancho Panza
932:Don Quixote and Sancho Panza
848:
778:Don Quijote and Sancho Panza
7:
816:Jean-Baptiste-Camille Corot
640:Jean-Baptiste-Camille Corot
10:
3290:
2781:Larkin, Oliver W. (1966).
2285:Museum of Fine Arts, Reims
2075:Metropolitan Museum of Art
2036:The Thieves and the Donkey
1667:Metropolitan Museum of Art
1611:Célébrités du Juste Milieu
1596:Célébrités du Juste Milieu
1577:Célébrités du Juste Milieu
1558:Célébrités du Juste Milieu
1539:Célébrités du Juste Milieu
1423:A trick of the imagination
1124:Metropolitan Museum of Art
964:F. Barbedienne Barbedienne
718:The Drunkenness of Silenus
522:Célébrités du Juste Milieu
491:Jean Ignace Isidore Gérard
3249:Legion of Honour refusals
3143:
3124:
3057:
2520:(accessed March 30, 2024)
1788:The Second Class Carriage
1141:was found as part of the
1090:
682:Alexandre-Gabriel Decamps
557:Alexandre-Gabriel Decamps
368:popular in England (e.g.
119:
112:Painting, sculpture, and
108:
86:
57:
39:
32:
27:French artist (1808–1879)
3133:The Third-Class Carriage
2785:Daumier, Man of His Time
2581:Raynal, Maurice (1951),
2490:Laughton, Bruce (1996),
2274:The Painter at his Easel
2063:The Third-Class Carriage
1955:Nymphs Pursued by Satyrs
1807:The First Class Carriage
1634:Drawings and watercolors
1592:Hippolyte Abraham Dubois
698:Philippe Auguste Jeanron
561:Antoine-Augustin Préault
553:Philippe Auguste Jeanron
526:The Court of King Pétaud
508:Daumier's caricature of
410:The Court of King Pétaud
355:Philippe Auguste Jeanron
2715:Pichois, Claude (1989)
2702:Encyclopædia Britannica
2639:The Art of Illustration
2621:Leymarie, Jean (1962),
2100:The Phillips Collection
1773:National Gallery of Art
1769:Counsel for the Defense
1720:The Phillips Collection
1663:Man Reading in a Garden
1535:Charles Léonard Gallois
1077:L'Association Mensuelle
916:Christ and His Apostles
290:
257:, where artists of the
132:Honoré-Victorin Daumier
62:Honoré Victorin Daumier
3209:Artists from Marseille
2902:Quotations related to
2760:Janson, H. W. (1977),
2659:The Romantics to Rodin
2637:Melot, Michel (1984),
2554:Daumier, French artist
2532:Eitner, Lorenz. 2000.
2372:Foundation E.G. Bührle
2089:Three Lawyers Chatting
1916:Buffalo AKG Art Museum
1794:, Baltimore, Maryland.
1404:What Time is it Please
1328:It certainly is solid!
1037:
954:
914:, in the paintings of
908:Les Bohémiens de Paris
858:
843:
795:, north of Paris with
788:
769:Later years: 1865–1879
710:Théophile Thoré-Bürger
669:
545:Narcisse Virgilio Díaz
449:
402:
397:sits on his throne (a
315:
3259:Cartoon controversies
3244:French wood engravers
2551:Adhémar, Jean. 2024.
1479:Lawyers and Litigants
1374:he Trains of Pleasure
1304:Past, Present, Future
1182:from glass negative,
1143:2012 Munich Art Hoard
1052:. In another series,
1032:
949:
856:
832:French Third Republic
776:
702:Alphonse de Lamartine
664:
577:Past, Present, Future
563:. He resumed work at
505:in his blood !"
493:(J. J. Grandville),
408:
387:
303:
296:Early life: 1808–1830
284:French Third Republic
3234:French male painters
3219:French caricaturists
2894:at Wikimedia Commons
2516:Daumier’s Life: 1879
2477:Roy, Claude (1971).
2461:Rey, Robert (1965).
2146:Dallas Museum of Art
1716:Plea for the Defense
1289:Freedom of the Press
1253:The Daumier Register
1116:École des Beaux-Arts
1048:, hero of a popular
824:Second French Empire
652:Jean-François Millet
573:Freedom of the Press
393:(1831), lithograph:
140:[ɔnɔʁedomje]
2941:Brandeis University
1980:The Drunkenness of
1845:Paintings 1842‒1879
1756:, Saint Petersburg.
1275:Prints and graphics
1184:Clark Art Institute
1054:L'histoire ancienne
1025:Prints and graphics
837:Durand-Ruel Gallery
812:Franco-Prussian War
674:Revolutions of 1848
606:King Louis Philippe
510:King Louis Philippe
454:Three Glorious Days
395:King Louis Philippe
335:huissier de justice
199:huissier de justice
3239:French printmakers
2994:2021-02-24 at the
2961:2021-02-24 at the
2932:Web Gallery of Art
2856:. 17 November 2013
2325:Burrell Collection
1792:Walters Art Museum
1775:, Washington D. C.
1722:, Washington D. C.
1594:: from the series
1575:: from the series
1556:: from the series
1500:(1869), lithograph
1248:Complete catalogue
1085:Galerie Véro-Dodat
1038:
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636:Charles Baudelaire
518:insulting the king
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184:Charles Baudelaire
149:Revolution of 1830
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3106:The Chess Players
2890:Media related to
2361:Mother with Child
2229:The Chess Players
1862:The Night Walkers
1837:The Hypochondriac
1324:Scènes Grotesques
797:Théodore Rousseau
706:Ernest Meissonier
656:Théodore Rousseau
380:Career: 1830–1864
374:Thomas Rowlandson
192:postimpressionist
129:
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90:February 11, 1879
72:February 26, 1808
16:(Redirected from
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3229:French satirists
3151:Alexandre Lenoir
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1012:The Heavy Burden
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678:Gustave Courbet
644:Gustave Courbet
627:Ile Saint-Louis
569:Rue Trensnonain
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351:Académie Suisse
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2880:External links
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2762:History of Art
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928:Good Samaritan
900:Robert Macaire
868:Maurice Raynal
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690:Paul Delaroche
614:September Laws
530:Sainte-Pélagie
497:. and a young
495:Auguste Raffet
458:Louis Philippe
414:Girod de l'Ain
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3082:The Emigrants
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2743:on 2015-07-21
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2688:public domain
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1626:The Fugitives
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3269:Lèse-majesté
3166:Le Charivari
3164:
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3096:
3088:
3080:
3072:
3066:The Republic
3064:
3050:
3001:
2984:Find a Grave
2906:at Wikiquote
2871:
2858:. Retrieved
2853:
2844:
2832:. Retrieved
2828:
2819:
2808:. Retrieved
2804:
2795:
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2776:
2761:
2756:
2745:. Retrieved
2741:the original
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2716:
2711:
2700:
2673:
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2515:
2512:Daumier.org.
2507:
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2401:. Retrieved
2397:the original
2387:
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2114:Crispin and
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2088:
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2007:
1979:
1954:
1941:Petit Palais
1929:
1911:
1886:
1873:Museum Wales
1861:
1848:
1836:
1822:The Amateurs
1821:
1806:
1787:
1768:
1749:
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1715:
1697:The Sideshow
1696:
1682:Two Drinkers
1681:
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1648:Man Dreaming
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1422:
1408:Le Charivari
1403:
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1373:
1357:
1342:
1327:
1323:
1303:
1288:
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1188:Williamstown
1158:
1150:Am Römerholz
1147:
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1136:
1111:
1103:
1099:
1094:
1081:Le Charivari
1080:
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1058:Le Charivari
1057:
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1042:Le Charivari
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873:H. W. Janson
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762:Le Charivari
761:
753:Le Charivari
752:
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714:The Republic
713:
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666:The Republic
665:
631:
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601:Le Charivari
600:
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503:Michelangelo
482:
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339:Palais-Royal
317:
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275:Le Charivari
274:
267:Le Charivari
266:
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218:
196:
165:
160:Le Charivari
158:
152:
131:
130:
92:(1879-02-11)
3199:1879 deaths
3194:1808 births
3169:(1832–1937)
3161:(1830–1843)
3153:(protector)
2860:17 November
2725:0241 124581
2368: 1865
2346: 1869
2321: 1864
2281: 1867
2259: 1863
2237: 1863
2213: 1863
2189: 1860
2167: 1860
2142: 1862
2096: 1855
2071: 1862
2044: 1858
2017: 1850
1990: 1849
1962: 1849
1937: 1850
1898:Rijksmuseum
1894: 1845
1869: 1842
1669:, New York.
1259:Exhibitions
1132:Don Quixote
1128:Rijksmuseum
993: [
982: [
971: [
920:Rijksmuseum
891:Don Quixote
806:Don Quixote
785: 1868
541:phalanstery
452:After the "
399:close stool
365:Lithography
331: 1820
312: 1830
280:Don Quixote
211:lithography
114:printmaking
51: 1850
3188:Categories
2834:7 February
2810:2014-10-07
2747:2014-12-08
2717:Baudelaire
2500:0300069456
2403:2013-02-23
2379:References
1216:Valmondois
1180:salt print
1154:Winterthur
1096:Baudelaire
959:sculptures
942:Sculptures
910:, and the
801:Montmartre
793:Valmondois
758:Montmartre
725:Valmondois
271:Montmartre
255:Valmondois
235:Baudelaire
209:, learned
172:caricature
145:printmaker
98:Valmondois
68:1808-02-26
3117:(c. 1868)
3101:(c. 1863)
3093:(c. 1860)
3090:Melodrama
3074:Ecce Homo
3058:Paintings
2923:findings.
2009:Ecce Homo
1521:Sculpture
1270:Galleries
1178:, 1856-8
1050:melodrama
924:Amsterdam
849:Paintings
591:followed
549:Paul Huet
534:Gargantua
514:Gargantua
512:, titled
390:Gargantua
320:Marseille
247:Delacroix
219:Gargantua
76:Marseille
2992:Archived
2959:Archived
2160:Sideshow
1703:, Paris,
1429:D'Argout
1126:and the
951:Ratapoil
745:Rousseau
737:Daubigny
731:, where
729:Barbizon
597:Philipon
446:Atthalin
438:d'Argout
251:Barbizon
176:fine art
120:Movement
46:Daumier
3173:Realism
3144:Related
2974:YouTube
2854:Spiegel
2690::
2463:Daumier
1982:Silenus
1433:Kératry
912:Masques
608:, the "
430:clyster
428:with a
422:Kératry
324:glazier
243:Courbet
168:realism
136:French:
124:Realism
18:Daumier
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