COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1925.1224
amicoid
CMA_.1925.1224
AMICA ID
false
AMICA Library Year:
2003
aly
2003
AMICA Library Year
false
Object Type:
Prints
oty
Prints
Object Type
false
Creator Name:
Daumier, Honoré
crn
Daumier, Honoré
Creator Name
false
Creator Nationality:
French
crc
French
Creator Nationality
false
Creator Role:
artist
crr
artist
Creator Role
false
Creator Dates/Places:
1808 - 1879
cdt
1808 - 1879
Creator Dates/Places
false
Biography:
Honoré Daumier was eight years old when his father, a glazier and frame maker who had decided to pursue his poetic talents in Paris, sent for the wife and three sons he lad left behind in Marseilles. In Paris Daumier studied drawing with Alexandre Lenoir (1761-1839) and at the Académie Suisse. Around 1825 he began a five-year apprenticeship with the publisher and lithographer Zépherin Belliard (1798-?). The July revolution of 1830, which established Louis-Philippe as the constitutional monarch in France, coincided with Daumier's creation of satirical lithographs aimed at this new government. That same year he joined La Caricature, a political journal founded by the republican artist-publisher, Charles Philipon (1802-1862). Daumier's antimonarchist and liberal subjects that were printed in this paper eventually cost the journal censorship and the artist six months in jail (31 August 1832 to 14 February 1833) plus a 300-franc fine. His prison sentence did not deter him from producing political statements and, in fact, only fueled his rage. The subjects of his lithographs became much more aggressive. In 1835 he worked for Philipon's second publication, Le Charivari, a humorous political newspaper that published Daumier's satirical caricature until it, too, suffered censorship under the new government. Although Daumier may be best known for his graphic art, he was also a sculptor and a prolific painter. Sculpture became another medium to produce his infamous caricatures. His friend, Honoré de Balzac, French novelist and editor of La Caricature, saw in these works the force of Michelangelo. In 1834 Daumier began experimenting with painting, both in oil and watercolor. Apart from his Salon entries of 1849 and 1850, his paintings, which totaled over three hundred, were painted primarily for his own pleasure and virtually unknown to the public until after his death in 1879.
crb
Honoré Daumier was eight years old when his father, a glazier and frame maker who had decided to pursue his poetic talents in Paris, sent for the wife and three sons he lad left behind in Marseilles. In Paris Daumier studied drawing with Alexandre Lenoir (1761-1839) and at the Académie Suisse. Around 1825 he began a five-year apprenticeship with the publisher and lithographer Zépherin Belliard (1798-?). The July revolution of 1830, which established Louis-Philippe as the constitutional monarch in France, coincided with Daumier's creation of satirical lithographs aimed at this new government. That same year he joined La Caricature, a political journal founded by the republican artist-publisher, Charles Philipon (1802-1862). Daumier's antimonarchist and liberal subjects that were printed in this paper eventually cost the journal censorship and the artist six months in jail (31 August 1832 to 14 February 1833) plus a 300-franc fine. His prison sentence did not deter him from producing political statements and, in fact, only fueled his rage. The subjects of his lithographs became much more aggressive. In 1835 he worked for Philipon's second publication, Le Charivari, a humorous political newspaper that published Daumier's satirical caricature until it, too, suffered censorship under the new government. Although Daumier may be best known for his graphic art, he was also a sculptor and a prolific painter. Sculpture became another medium to produce his infamous caricatures. His friend, Honoré de Balzac, French novelist and editor of La Caricature, saw in these works the force of Michelangelo. In 1834 Daumier began experimenting with painting, both in oil and watercolor. Apart from his Salon entries of 1849 and 1850, his paintings, which totaled over three hundred, were painted primarily for his own pleasure and virtually unknown to the public until after his death in 1879.
Biography
false
Gender:
M
cgn
M
Gender
false
Creator Birth Place:
Marseille, 26 February 1808
cbp
Marseille, 26 February 1808
Creator Birth Place
false
Creator Death Place:
Valmondois, 10 February 1879
cdp
Valmondois, 10 February 1879
Creator Death Place
false
Creator Name-CRT:
Honoré Daumier
crt
Honoré Daumier
Creator Name-CRT
false
Title:
Matrimonial Customs: Ah! you think your wife does not provide enough for you, villian...
otn
Matrimonial Customs: Ah! you think your wife does not provide enough for you, villian...
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
Title:
Moeurs conjugales, plate 38: Ah! Tu trouves que ta femme ne te soigne pas assez...
otn
Moeurs conjugales, plate 38: Ah! Tu trouves que ta femme ne te soigne pas assez...
Title
false
Title Type:
Foreign
ott
Foreign
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
6 June 1841
oct
6 June 1841
Creation Date
false
Creation Start Date:
1841
ocs
1841
Creation Start Date
false
Creation End Date:
1841
oce
1841
Creation End Date
false
Materials and Techniques:
lithograph
omd
lithograph
Materials and Techniques
false
Classification Term:
Print
clt
Print
Classification Term
false
Style or Period:
France, 19th century
std
France, 19th century
Style or Period
false
Dimensions:
Sheet: 36cm x 27.7cm
met
Sheet: 36cm x 27.7cm
Dimensions
false
AMICA Contributor:
The Cleveland Museum of Art
oon
The Cleveland Museum of Art
AMICA Contributor
false
Owner Location:
Cleveland, Ohio, USA
oop
Cleveland, Ohio, USA
Owner Location
false
ID Number:
1925.1224
ooa
1925.1224
ID Number
false
Credit Line:
Gift of The Print Club of Cleveland
ooc
Gift of The Print Club of Cleveland
Credit Line
false
Rights:
orl
<a href="http://www.clevelandart.org/museum/disclaim2.html"target="_new">http://www.clevelandart.org/museum/disclaim2.html</a>
Rights
false
Related Image Identifier Link:
CMA_.1925.1224.tif
ril
CMA_.1925.1224.tif
Related Image Identifier Link
false