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705:(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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365:), 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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740:. 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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315:(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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807:, 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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627:, 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
445:" 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
509:" and sentenced to six months imprisonment with a fine of 500 francs. However, his sentence was suspended at that time and Daumier returned to work where he continued to produce provocative and antagonistic lithographs for the papers. It was at this time he started work on his first sculptures, the
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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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152:, 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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623:. 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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1076:(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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1244:, 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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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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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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505:, 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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322:–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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2650: : French Nineteenth-Century Sculpture from North American Collections. George Braziller, Inc., New York. 368 pp.
401:(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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517:(1832) was published and he was arrested at his parents apartment in August 1832 and placed in the prison of
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1828:(date unknown), charcoal, pen and ink, & watercolor, 29.3 x 24.9 cm. Hermitage Museum, Saint Petersburg.
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2470:. Le Goût de Notre Temps (The Taste of Our Time), Volume 50. Editions D'Art Albert Skira, Geneva, 127 pp.
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819:; however, he discreetly declined, feeling it was inconsistent with his political ideals and oeuvre. The
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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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2630:. 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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1813:(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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1838:(Daumier rarely dated his paintings and experts frequently disagree on establishing dates)
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1673:(1860-79), pen, ink, & charcoal. 32 x 24.5 cm. Metropolitan Museum of Art, New York.
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1474:. (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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1798:(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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709:(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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1760:(c. 1862-1865), pen, ink, charcoal, crayon, & watercolor. image: 20.7 x 30 cm.
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132:; February 26, 1808 – February 10 or 11, 1879) was a French painter, sculptor, and
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1639:(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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1504:(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
3154:
2972:
2968:
1929:
1861:
1396:
1025:(1834), lithograph, 29 x 44.5 cm., Bibliothèque nationale de France, Paris
861:
556:
and continued to publish critical and uncompromising lithographs including
491:
327:
148:
650:
2454:, The Library of Great Painters. Harry N. Abrams, Inc., New York, 160 pp.
1886:
1417:
1120:
1116:
927:, or even in the sketches in the Ionides Collection at South Kensington.
908:
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568:(all 1834) and spent long hours in the Louvre. The founder and editor of
529:
458:
were prosecuted and jailed for a time during the short run of the paper.
387:
353:
268:
199:
102:
1602:(1832 - 1835), posthumous bronze cast, Art Institute of Chicago, Chicago
3000:
in American public collections, on the French Sculpture Census website
2694:. Vol. 7 (11th ed.). Cambridge University Press. p. 849.
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259:
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2290:(after 1864), oil on panel, 24.8 x 46 cm., Metropolitan Museum of Art
1038:
1033:, in which he held bourgeois society up to ridicule in the figure of
912:
537:
378:
308:
64:
1487:
Nadar in a balloon Nadar, elevating photography to the height of Art
1060:
depicting the massacre in the Rue Transnonain which was part of the
1416:
My God! If my child were born with a pear head, or as Lobau, or as
725:
717:
239:
164:
2675:
This article incorporates text from a publication now in the
1617:(c. 1850–52), plaster, 32.2 x 45.8 cm., Musée d'Orsay, Paris
942:(1850-51), bronze, 45 x 17 x 18 cm., Walters Art Museum, Baltimore
3008:
2887:
2753:, 2nd ed. Harry N. Abrams, Inc., Publishers. New York. 767 pp. ,
2612:
French Painting: The Nineteenth Century. Painting, Color, History
2250:–66), oil on canvas, 27.9 x35.5 cm., The Phillips Collection
1970:
1280:(1834), lithograph, 31.4 x 43.4 cm., Cleveland Museum of Art
474:
invited Daumier to join its staff, a formidable group including
418:
312:
1741:. (1858), charcoal, pen, brush, ink, watercolor, & gouache.
1399:(1839), lithograph, 24.1 x 19.8 cm. Cleveland Museum of Art
2875:
2036:
1982:
1981:–50), 49 x 62.53 cm. gouache on drawing, Musée des Beaux-Arts,
1779:(1864), watercolor, ink wash, & charcoal. 20.5 x 30.1 cm .
1689:
1334:(1840), lithograph, page 34 x 27 cm. Boston Public Library
1108:
2180:–1863), oil on panel, 49.5 x 40 cm., Dallas Museum of Art
1654:(1825-79), watercolor, crayon, chalk, & ink. 33.8 x 27cm.
2813:
2708:. Hamish Hamilton Ltd. (The Penguin Group, London ). 430 pp.
1164:
1123:, a theme that fascinated him for the last part of his life.
721:
712:
Starting around 1853, he often spent summer months visiting
2500:
1064:
in Paris. It was designed for the subscription publication
218:
Daumier married Alexandrine Dassy in 1846 and moved to the
2903:
2640:
1349:(1856), lithograph, 26,5 x 35 cm., Albertina, Vienna
657:(1848), oil on canvas, 73 x 60 cm., Musée d'Orsay, Paris
155:
He was also a serious painter, loosely associated with
1103:, in 1888. An exhibition of his works was held at the
776:), oil on canvas, 51 x 32 cm., Neue Pinakothek, Munich
2940:
Honoré Daumier (French, 1808 – 1879) on MutualArt.com
2546:. Encyclopaedia Britannica. (accessed March 30, 2024)
462:
and Gabriel Aubert, founded another satirical paper,
2228:–67), oil on canvas, 24 x 32 cm., Petit Palais
1231:
Bust of Daumier by Adolphe-Victor Geoffroy-Dechaume.
2337:), oil on canvas, 33.35 x 26 cm. private collection
1707:(early 1860s), pen, ink, & wash. 9.25 X 14 mm.
1587:(1832–35), painted terracotta Musée d'Orsay, Paris
1568:(1832–35), painted terracotta Musée d'Orsay, Paris
1549:(1832–35), painted terracotta Musée d'Orsay, Paris
749:, losing contact with many friends and associates.
2771:
2606:
2604:
2602:
2600:
2158:–64), oil on wood, 25 x 32 cm., private collection
2916:Daumier's biography, style and critical reception
2598:
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2584:
2582:
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3174:
2726:"Revolutionary Dreams: Investigating French art"
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2204:), oil on panel, 49 x 34 cm., Musée d'Orsay
788:, who was in declining health, and soon he left
2839:"Photo Gallery: Munich Nazi Art Stash Revealed"
2660:
2622:
2620:
2614:. Editions D'Art Albert Skira, Geneva. 231 pp.
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532:on Rue Saint-Denis, where his friends included
2698:
2577:
2574:. Editions D'Art Albert Skira, Geneva.148 pp.
2473:
1903:(c. 1850-53), oil on paper, 30.8 x 23.97 cm.,
1365:, published in Le Charivari (1864), lithograph
1049:, which he left in 1863 and rejoined in 1864.
470:was folding under pressure from the monarchy.
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413:servants in red; Madier de Montjau tall man;
303:), chalk and conté crayon, Albertina, Austria
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2483:. Yale University Press, New Haven, 208 pp.
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2008:), grisaille on canvas, 160 x 127 cm.,
1380:published in Le Charivari (1864), lithograph
1378:A literary discussion in the second Gallery,
1029:Daumier produced his social caricatures for
307:Daumier was born in the south of France, in
167:. Although he occasionally exhibited at the
159:, sometimes blurring the boundaries between
2062:–64), oil on canvas, 65.4 x 90.2 cm.,
1885:–1850), oil on canvas, 37 x 28.5 cm.,
1622:
3125:(c. 1856–1858, c. 1862–1864, c. 1863–1865)
3031:
3017:
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513:(1832–1835). Later that year, his cartoon
29:
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2399:
2359:–1870), oil on canvas, 40 x 33 cm.,
2108:(1864), oil on canvas, 61 x 82 cm.,
757:
2926:Daumier Lithographs and some information
2899:Daumier works at National Gallery of Art
2680:
1562:Clément François Victor Gabriel Prunelle
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2862:constantly updated with new findings.
2831:
2646:Frusco, Peter and H. W. Janson (1980),
2468:Daumier: Étude biographique et critique
2382:"Honoré Daumier: A Finger on the Pulse"
1688:(1825-79), watercolor, 26.6 x 36.7 cm.
276:February 10, 1879, others February 11.
3175:
2935:Prints at the Art Institute of Chicago
2769:
2133:–63), oil on panel, 23.5 x 18.42 cm.,
1833:
1319:, (1839), lithograph, 20 x 19 cm.
1299:(1834), lithograph, 19,6 x 21 cm.
1163:A portrait by the French photographer
1013:
3012:
1928:–55), oil on panel, 16.2 x 28.7 cm.,
1739:Intermission at the Comédie Française
1332:Hey! Waitress, I prefer my soup bald!
1236:
588:had already started another journal,
336:Musée national des Monuments Français
127:
2087:–57), oil on canvas, 40.6 x 33 cm.,
1860:–47), oil on panel, 28.9 x 18.7 cm.
1530:(1832–35), terracotta, Musée d'Orsay
1347:Horse Meat is Healthy and Digestible
780:Daumier spent the summer of 1865 in
368:
262:and lost contact with many friends.
2794:An Introduction to 19th Century Art
1101:Honoré Daumier, l'hommé et l'oeuvre
1056:In 1834 he produced the lithograph
701:. Daumier presented an oil sketch,
437:, head turned in profile to left.
13:
3038:
2778:. New York, New York: McGraw-Hill.
2312:), oil on panel, 32.4 x 24.1 cm.,
1953:), oil on canvas, 131 x 97.1 cm.,
1006:Daumier made several paintings of
855:and others did. The art historian
14:
3274:
3253:Political controversies in France
3203:Burials at Père Lachaise Cemetery
2868:
2524:Honoré Daumier, French, 1808–1879
2384:. Hammer.ucla.edu. Archived from
1425:lithograph, 26,4 x 19,8 cm.
1420:, as Dupin ... For God's sake! A
601:". A couple of months later the "
3263:19th-century French male artists
2886:
2874:
2790:"Rue Transnonain, 15 April 1834"
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2272:), oil on panel, 35.8 x 32 cm.,
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2171:Outside the Print Seller's Shop
2035:), oil on canvas, 59 x 56 cm.,
1502:The Witnesses - The War Council
1023:Rue Transnonain, April 15, 1834
621:The Miller, his Son and the Ass
2814:"Vincent van Gogh the Letters"
2374:
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1058:Rue Transnonain, 15 April 1834
815:intended to award Daumier the
1:
2958:Daumier an unusual exhibition
2818:Vincent van Gogh: The Letters
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2288:Don Quixote and the Dead Mule
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683:Jean-Auguste-Dominique Ingres
466:in 1830, starting up just as
429:, bespectacled & bowing,
316:
297:
294:Portrait of a Girl, Jeannette
36:
3213:French editorial cartoonists
3193:19th-century French painters
3103:Don Quixote and Sancho Panza
2328:Pierrot Strumming the Guitar
2303:Don Quixote and Sancho Panza
1955:Montreal Museum of Fine Arts
1724:Don Quixote and Sancho Panza
1509:
1440:(c. 1850), colour lithograph
1258:
1191:Daumier later in his career.
1128:Don Quixote and Sancho Panza
921:Don Quixote and Sancho Panza
837:
767:Don Quijote and Sancho Panza
7:
805:Jean-Baptiste-Camille Corot
629:Jean-Baptiste-Camille Corot
10:
3279:
2770:Larkin, Oliver W. (1966).
2274:Museum of Fine Arts, Reims
2064:Metropolitan Museum of Art
2025:The Thieves and the Donkey
1656:Metropolitan Museum of Art
1600:Célébrités du Juste Milieu
1585:Célébrités du Juste Milieu
1566:Célébrités du Juste Milieu
1547:Célébrités du Juste Milieu
1528:Célébrités du Juste Milieu
1412:A trick of the imagination
1113:Metropolitan Museum of Art
953:F. Barbedienne Barbedienne
707:The Drunkenness of Silenus
511:Célébrités du Juste Milieu
480:Jean Ignace Isidore Gérard
3238:Legion of Honour refusals
3132:
3113:
3046:
2509:(accessed March 30, 2024)
1777:The Second Class Carriage
1130:was found as part of the
1079:
671:Alexandre-Gabriel Decamps
546:Alexandre-Gabriel Decamps
357:popular in England (e.g.
108:
101:Painting, sculpture, and
97:
75:
46:
28:
21:
16:French artist (1808–1879)
3122:The Third-Class Carriage
2774:Daumier, Man of His Time
2570:Raynal, Maurice (1951),
2479:Laughton, Bruce (1996),
2263:The Painter at his Easel
2052:The Third-Class Carriage
1944:Nymphs Pursued by Satyrs
1796:The First Class Carriage
1623:Drawings and watercolors
1581:Hippolyte Abraham Dubois
687:Philippe Auguste Jeanron
550:Antoine-Augustin Préault
542:Philippe Auguste Jeanron
515:The Court of King Pétaud
497:Daumier's caricature of
399:The Court of King Pétaud
344:Philippe Auguste Jeanron
2704:Pichois, Claude (1989)
2691:Encyclopædia Britannica
2628:The Art of Illustration
2610:Leymarie, Jean (1962),
2089:The Phillips Collection
1762:National Gallery of Art
1758:Counsel for the Defense
1709:The Phillips Collection
1652:Man Reading in a Garden
1524:Charles Léonard Gallois
1066:L'Association Mensuelle
905:Christ and His Apostles
279:
246:, where artists of the
121:Honoré-Victorin Daumier
51:Honoré Victorin Daumier
3198:Artists from Marseille
2891:Quotations related to
2749:Janson, H. W. (1977),
2648:The Romantics to Rodin
2626:Melot, Michel (1984),
2543:Daumier, French artist
2521:Eitner, Lorenz. 2000.
2361:Foundation E.G. Bührle
2078:Three Lawyers Chatting
1905:Buffalo AKG Art Museum
1783:, Baltimore, Maryland.
1393:What Time is it Please
1317:It certainly is solid!
1026:
943:
903:, in the paintings of
897:Les Bohémiens de Paris
847:
832:
784:, north of Paris with
777:
758:Later years: 1865–1879
699:Théophile Thoré-Bürger
658:
534:Narcisse Virgilio Díaz
438:
391:
386:sits on his throne (a
304:
3248:Cartoon controversies
3233:French wood engravers
2540:Adhémar, Jean. 2024.
1468:Lawyers and Litigants
1363:he Trains of Pleasure
1293:Past, Present, Future
1171:from glass negative,
1132:2012 Munich Art Hoard
1041:. In another series,
1021:
938:
845:
821:French Third Republic
765:
691:Alphonse de Lamartine
653:
566:Past, Present, Future
552:. He resumed work at
494:in his blood !"
482:(J. J. Grandville),
397:
376:
292:
285:Early life: 1808–1830
273:French Third Republic
3223:French male painters
3208:French caricaturists
2883:at Wikimedia Commons
2505:Daumier’s Life: 1879
2466:Roy, Claude (1971).
2450:Rey, Robert (1965).
2135:Dallas Museum of Art
1705:Plea for the Defense
1278:Freedom of the Press
1242:The Daumier Register
1105:École des Beaux-Arts
1037:, hero of a popular
813:Second French Empire
641:Jean-François Millet
562:Freedom of the Press
382:(1831), lithograph:
129:[ɔnɔʁedomje]
2930:Brandeis University
1969:The Drunkenness of
1834:Paintings 1842‒1879
1745:, Saint Petersburg.
1264:Prints and graphics
1173:Clark Art Institute
1043:L'histoire ancienne
1014:Prints and graphics
826:Durand-Ruel Gallery
801:Franco-Prussian War
663:Revolutions of 1848
595:King Louis Philippe
499:King Louis Philippe
443:Three Glorious Days
384:King Louis Philippe
324:huissier de justice
188:huissier de justice
3228:French printmakers
2983:2021-02-24 at the
2950:2021-02-24 at the
2921:Web Gallery of Art
2845:. 17 November 2013
2314:Burrell Collection
1781:Walters Art Museum
1764:, Washington D. C.
1711:, Washington D. C.
1583:: from the series
1564:: from the series
1545:: from the series
1489:(1869), lithograph
1237:Complete catalogue
1074:Galerie Véro-Dodat
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625:Charles Baudelaire
507:insulting the king
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173:Charles Baudelaire
138:Revolution of 1830
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3095:The Chess Players
2879:Media related to
2350:Mother with Child
2218:The Chess Players
1851:The Night Walkers
1826:The Hypochondriac
1313:Scènes Grotesques
786:Théodore Rousseau
695:Ernest Meissonier
645:Théodore Rousseau
369:Career: 1830–1864
363:Thomas Rowlandson
181:postimpressionist
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79:February 11, 1879
61:February 26, 1808
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3218:French satirists
3140:Alexandre Lenoir
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1008:The Heavy Burden
1001:The Heavy Burden
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667:Gustave Courbet
633:Gustave Courbet
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558:Rue Trensnonain
476:Achille Devéria
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340:Académie Suisse
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2869:External links
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2751:History of Art
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889:Robert Macaire
857:Maurice Raynal
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603:September Laws
519:Sainte-Pélagie
486:. and a young
484:Auguste Raffet
447:Louis Philippe
403:Girod de l'Ain
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3071:The Emigrants
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2759:0-8109-1052-7
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2732:on 2015-07-21
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2677:public domain
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2388:on 2013-01-27
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1615:The Fugitives
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3258:Lèse-majesté
3155:Le Charivari
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3077:
3069:
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3055:The Republic
3053:
3039:
2990:
2973:Find a Grave
2895:at Wikiquote
2860:
2847:. Retrieved
2842:
2833:
2821:. Retrieved
2817:
2808:
2797:. Retrieved
2793:
2784:
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2765:
2750:
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2734:. Retrieved
2730:the original
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2501:Daumier.org.
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2390:. Retrieved
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1996:
1968:
1943:
1930:Petit Palais
1918:
1900:
1875:
1862:Museum Wales
1850:
1837:
1825:
1811:The Amateurs
1810:
1795:
1776:
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1738:
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1686:The Sideshow
1685:
1671:Two Drinkers
1670:
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1637:Man Dreaming
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1397:Le Charivari
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1346:
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1312:
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1277:
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1177:Williamstown
1147:
1139:Am Römerholz
1136:
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1100:
1092:
1088:
1083:
1070:Le Charivari
1069:
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1047:Le Charivari
1046:
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1031:Le Charivari
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862:H. W. Janson
849:
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793:
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766:
751:Le Charivari
750:
742:Le Charivari
741:
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703:The Republic
702:
660:
655:The Republic
654:
620:
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607:Le Charivari
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590:Le Charivari
589:
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569:
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492:Michelangelo
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328:Palais-Royal
306:
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264:Le Charivari
263:
256:Le Charivari
255:
217:
207:
185:
154:
149:Le Charivari
147:
141:
120:
119:
81:(1879-02-11)
3188:1879 deaths
3183:1808 births
3158:(1832–1937)
3150:(1830–1843)
3142:(protector)
2849:17 November
2714:0241 124581
2357: 1865
2335: 1869
2310: 1864
2270: 1867
2248: 1863
2226: 1863
2202: 1863
2178: 1860
2156: 1860
2131: 1862
2085: 1855
2060: 1862
2033: 1858
2006: 1850
1979: 1849
1951: 1849
1926: 1850
1887:Rijksmuseum
1883: 1845
1858: 1842
1658:, New York.
1248:Exhibitions
1121:Don Quixote
1117:Rijksmuseum
982: [
971: [
960: [
909:Rijksmuseum
880:Don Quixote
795:Don Quixote
774: 1868
530:phalanstery
441:After the "
388:close stool
354:Lithography
320: 1820
301: 1830
269:Don Quixote
200:lithography
103:printmaking
40: 1850
3177:Categories
2823:7 February
2799:2014-10-07
2736:2014-12-08
2706:Baudelaire
2489:0300069456
2392:2013-02-23
2368:References
1205:Valmondois
1169:salt print
1143:Winterthur
1085:Baudelaire
948:sculptures
931:Sculptures
899:, and the
790:Montmartre
782:Valmondois
747:Montmartre
714:Valmondois
260:Montmartre
244:Valmondois
224:Baudelaire
198:, learned
161:caricature
134:printmaker
87:Valmondois
57:1808-02-26
3106:(c. 1868)
3090:(c. 1863)
3082:(c. 1860)
3079:Melodrama
3063:Ecce Homo
3047:Paintings
2912:findings.
1998:Ecce Homo
1510:Sculpture
1259:Galleries
1167:, 1856-8
1039:melodrama
913:Amsterdam
838:Paintings
580:followed
538:Paul Huet
523:Gargantua
503:Gargantua
501:, titled
379:Gargantua
309:Marseille
236:Delacroix
208:Gargantua
65:Marseille
2981:Archived
2948:Archived
2149:Sideshow
1692:, Paris,
1418:D'Argout
1115:and the
940:Ratapoil
734:Rousseau
726:Daubigny
720:, where
718:Barbizon
586:Philipon
435:Atthalin
427:d'Argout
240:Barbizon
165:fine art
109:Movement
35:Daumier
3162:Realism
3133:Related
2963:YouTube
2843:Spiegel
2679::
2452:Daumier
1971:Silenus
1422:Kératry
901:Masques
597:, the "
419:clyster
417:with a
411:Kératry
313:glazier
232:Courbet
157:realism
125:French:
113:Realism
3066:(1850)
3058:(1848)
2757:
2712:
2673:
2654:
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