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Honoré Daumier (Marsella, 26 de febrero de 1808 - Valmondois, 10 de febrero de 1879) fue un caricaturista, pintor, ilustrador, grabador, dibujante y escultor francés de la época realista.
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Honoré-Victorin Daumier (French: [ɔnɔʁe domje]; February 26,...
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Honoré Daumier (* 26. Februar 1808 in Marseille; † 10....
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Count Antoine-Maurice-Apollinaire d'Argout (1782-1858),...
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25 de ene. de 2022 · Honoré Daumier (1808-1879) fue un artista polifacético y uno de los r epresentantes más destacados y populares del realismo francés. Fue un gran caricaturista, además de pintor, escultor, y dibujante en el que primó el sarcasmo, la crítica y la mordacidad mostrando la realidad desde una óptica de denuncia de la sociedad y la actualidad.
- Overview
- Background and early life
- Satirical lithographs
Honoré Daumier (born February 20/26, 1808, Marseille, France—died February 11, 1879, Valmondois) prolific French caricaturist, painter, and sculptor especially renowned for his cartoons and drawings satirizing 19th-century French politics and society. His paintings, though hardly known during his lifetime, helped introduce techniques of Impressioni...
Traits of Daumier’s ancestry—a violent temperament, a generous and rather fanciful turn of mind, and an easily aroused capacity for pity—all form part of his character. His mother’s family was from a village in which samples of unique ancient sculptured reliefs—fierce primitive human heads—had been found. His grandfather and father both worked in Marseille as “glaziers”—that is to say, dealers in frames (or passe-partout pictures) and decorative tableaux that they painted themselves. His godfather was a painter. When Daumier was seven, his father abandoned his business in order to go to Paris and, like so many Provençals, seek his fortune as a poet. He was presented to the king, Louis XVIII, but his swift fall from favour—he was famous only for a fortnight—unbalanced him mentally. After apparently being confined for many years, he died in the Charenton asylum.
Daumier received a typical lower middle-class education, but he wanted to draw, and his studies did not interest him. His family therefore placed him with an old and fairly well-known artist, Alexandre Lenoir. Lenoir, a student and friend of Jacques-Louis David, a leading classicist painter, was more an aesthetician than a painter. He had a pronounced taste for Peter Paul Rubens, one of whose works he kept in his collection. A connoisseur of sculpture, he had saved the most beautiful medieval and contemporary sculptures from the Revolutionaries, which inspired a lasting interest in Daumier.
Daumier was then not at all the uncultured, self-taught genius that most art historians of the late 19th and early 20th centuries depicted. He did not rise from an artistic void—he was the child of artists, however modest and unsuccessful they had been in making a name. Added to the advantage of this ancestry, he also benefitted from a more interesting artistic education than his contemporaries.
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At the age of 13 his father’s breakdown forced Daumier to seek paying work. He first became a messenger boy for a bailiff and, from this experience, acquired his familiarity with the world of the lawcourts. He worked next as a bookseller’s clerk at the Palais-Royal. The Palais-Royal, with its arcades surrounding the garden, was one of the busiest spots in Paris, and there Daumier saw, parading before his employer’s window, all the characters of the Comédie humaine, about whom he would later talk with his friend Honoré de Balzac: not only men and women of fashion, intellectuals, and artists but also “captains of industry,” or swindlers, as they were commonly called—all of whom lent themselves to caricature.
In 1830 Daumier began his satirical work: his busts lampooning certain contemporary types and his many lithographs. He enjoyed the company of grandiloquent men and mainly associated with men of the left. It was at this time that Charles Philipon, a liberal journalist who had founded the opposition journal La Caricature, invited him to become a contributor.
King Louis-Philippe generally tolerated jokes at his expense, but, when unduly provoked, rather than bring suit against a paper, he preferred to seize it, a procedure that meant ruin for its staff and financial backers. Only once during his reign did he deal severely with an offender—with Daumier in 1832, and then only after the second of the artist’s most violent attacks. Sentenced to six months in prison, Daumier spent two of them in the state prison and four in a mental hospital, the king apparently wanting to show that one had to be mad to oppose and caricature him.
After his release in February 1833, Daumier was never again indicted, even though in his cartoons he continued to attack a regime, a form of society, and a concept of life that he scorned, while at the same time creating unforgettable characters. Daumier’s types were universal: businessmen, lawyers, doctors, professors, and petits bourgeois. His treatment of his lithographs was sculptural, leading Balzac to say about him that he had a bit of Michelangelo under his skin.
Daumier’s sculptures have still not been sufficiently studied. The 15 or so small busts that he modelled in clay for the window of the satirical journal for which he worked and that remained there some 30 years occupy an important place in the history of sculpture. Scarcely differing from official busts, but with the accentuation of a detail that made them caricatures, they constitute an unforgettable gallery of the politicians of the July monarchy. The complete series has not been preserved: it included a Louis-Philippe, which Daumier hid, and other pieces that were broken in moving. A few copies of the busts were cast in bronze in the 20th century, and their originality is the more striking when they are compared with similar pieces of that period.
Daumier’s only close friends were sculptors, all of them romantic, poor, and ardent left-wingers. Although intimate with these few friends, Daumier did not form part of any of the many artistic or literary coteries of the time. He was not inclined to frequent salons, or even saloons. When he went to a café, it was with his neighbours on the Île Saint-Louis, where he lived between 1833 and approximately 1850 in a studio on the quay d’Anjou. This old studio still exists, at the top of a house overlooking a world of roofs and open windows, behind which his models lived. Nor did his wife, to whom he was very attached, his dear “Didine” (Léopoldine), mix in artistic circles; she was a dressmaker.
In 1848 Daumier believed the era of social justice for which he had militantly fought for 20 years had arrived, and he took part in the official competition for the representation of the republic that was to replace the portrait of the king in all the municipal buildings of France. His rough sketch was beautiful, and, had he agreed to complete the painting, he would have received the prize.
- Jean Adhémar
Honoré-Victorin Daumier (French: [ɔnɔʁe domje]; February 26, 1808 – February 10 or 11, 1879) was a French painter, sculptor, and printmaker, whose many works offer commentary on the social and political life in France, from the Revolution of 1830 to the fall of the second Napoleonic Empire in 1870.
- Honoré Victorin Daumier, February 26, 1808, Marseille, France
- Painting, sculpture, and printmaking
- February 10, 1879 (aged 70), Valmondois, France
- Realism
Honoré Daumier ( Marsella, 26 de febrero de 1808 - Valmondois, 10 de febrero de 1879) fue un caricaturista, pintor, ilustrador, grabador, dibujante y escultor francés de la época realista .
The witty caricatures of Honoré Daumier made him one of the most widely recognized social and political commentators of his day and even landed him in jail for insulting the reigning monarch.
