Tuesday, September 8, 2015

Reading in a Garden

Honoré Daumier
Man Reading in a Garden
mid-19th century
Metropolitan Musseum
(gift of Louisine Havemeyer)

Honoré Daumier
The Print Collector
c. 1860
Philadelphia Museum of Art

As a child, I developed a dislike of Honoré Daumier. In the art books I found at the public library Daumier was always represented by harsh black-and-white caricatures  mostly of courtroom scenes. Satirical sketches of 19th-century French courtrooms were not appealing to the uneducated, beauty-loving child that I was. Later I discovered a more intimate and reflective Daumier. Without bothering to determine any facts, I have preferred to think that he only did the caricatures to pay the rent.

Honoré Daumier
The Connoisseur
c. 1860-65
Metropolitan Museum
(gift of Louisine Havemeyer)

Honoré Daumier
Two Sculptors
19th century
Phillips Collection

Honoré Daumier
The Studio
c. 1870
Getty

The Getty's commentary on the Daumier painting immediately above is intriguing enough to be quoted here 

"Known for his satirical, touching portrayals of contemporary life, Honoré Daumier changed direction temporarily after seeing a newly hung collection of paintings by Jean-Honoré Fragonard in the Musée du Louvre in 1869. 

Struck by the expressive power of Fragonard's rapid brushstroke, Daumier paid homage to his predecessor in a series of paintings that included The Studio. Daumier, who almost never portrayed beautiful women as objects of attraction, succumbed to Fragonard's sensuality and endowed this model with the upswept hair and casual off-the-shoulder costume of Fragonard's females. Emulating Fragonard's manner of sketching on canvas, Daumier made her dress shimmer, drawing with his brush to build the lights cascading from her blouse onto her full skirt. 

Aside from touches of gestural brushwork on the man's sleeve, the model's hair, and the woman's brilliantly illuminated skin and dress, this painting's darker palette and largely subdued brushwork are consistent with Daumier's usual style. The artist hunched over his easel in the background also resembles his frequent depictions of painters or connoisseurs profoundly isolated by involvement with a work of art."


Honoré Daumier
Two Lawyers Conversing
c. 1860
Morgan Library

Honoré Daumier
Waiting at a Station
1865-66
Victoria & Albert Museum

Honoré Daumier
.Laundress at Quai Anjou
c. 1860
Allbright-Knox Gallery

Honoré Daumier
Bathing of Children
19th century
Private Collection

Honoré Daumier
Saltimbanques
c. 1866-67
Victoria & Albert Museum