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                   Honore Daumier  (1808-1879) French Master

Honore Daumier, Watercolor, "Two Elderly Women Supplicating to a Judge". 

"Two Elderly Women Supplicating to a Judge"

 

Daumier_back of watercolor
Back detail


"Two Elderly Women Supplicating to a Judge"

Ink & Watercolor

Ink Signed

Very rich color tones
 

Site: 9 3/4" x 8"
Sheet 12" x 10"
Frame: 15 3/8" x 13 1/8"

Period Framed
Archival stored
Glass covered back

Condition: Excellent
Light age soiling & toneing

Paper stretched over a 19th c. board
with 'Chenue Emballeur' label,
unframed, self-matted
with pinstriping

Note: Rare watercolor


Biography Wikipedia 

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detailed photos
Private collection


Label

Honoré Daumier (February 26, 1808 – February 10, 1879) was a French printmaker, caricaturist, painter, and sculptor, whose many works offer commentary on social and political life in France in the 19th century.

A prolific draftsman who produced over 4000 lithographs, he was perhaps best known for his caricatures of political figures and satires on the behavior of his countrymen, although posthumously the value of his painting has also been recognized.

Background and early life

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 middleclass 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 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 have 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.

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 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.

Daumier’s development was thus complete at that moment when, about 1825–28, he decided to give up everything to embark on the artistic career of which he had dreamed so long. He was a young man of about 18 or 20, from a family of painters, who had had an opportunity to admire Rubens, had learned to analyze sculpture, and had been able to observe the appearance and behaviour of different classes of society.

Physically he was ugly, at least according to the taste of his time. Heavyset like Balzac, although probably smaller, he had small but lively eyes and a large nose. He always kept a pipe in his mouth, in order to mask his Provençal accent and the frequent lisp of his native region.

Daumier could not, of course, live from painting or from sculpture as he had set out to do. He therefore accepted commissions for lithographs—portraits and, at a very early age, cartoons of morals and manners (caricatures de moeurs), the first of these dating from 1822, when he was scarcely 15 years old and was just beginning to produce lithographs. Although some of his first works were signed, many others were not: they were portraits of celebrities that were signed by another native of Marseille, Zéphirin Belliard, Daumier’s elder by 10 years and the author of a lavish Iconographie des contemporains. For the most part these portraits were mediocre, modelled on another artist’s style, but they constituted an excellent apprenticeship for someone interested in the human physiognomy.

His life, devoted entirely to his work, was to be divided into two parts: from 1830 to 1847 he was a lithographer, cartoonist, and sculptor; and, beginning in 1848 and lasting until 1871, he was an Impressionist painter whose art was reflected in the lithographs he continued to produce. Constant work was not a burden to him; while producing 4,000 lithographs and 4,000 illustrative drawings, he sang sentimental songs whose foolishness made him laugh, and, “unconcerned with his works, he was always out drinking cheap wine with barge captains.”