Title of Work
Date of Work
Initialed in the lithographic stone.
Art & Design Study Collection
UND Art Collections Repository
Honoré Daumier was a prolific painter, printmaker and caricaturist born in 1808 in Marseille, France. In 1822 Daumier studied under Alexandre Lenoir, an artist and archaeologist that was dedicated to saving French monuments during the French Revolution. One year later he went on to attend the Académie Suisse. His works are best known for commenting and critiquing on the 19th century social and political life in France. Honoré Daumier's works can be found at the Louvre, the Metropolitan Museum of Art, the Rijksmuseum, and several other prominent collections internationally. The University of North Dakota holds more than 1600 works by Daumier, the vast majority of which are part of the Lilly Jacobson Collection, which can be accessed here: https://commons.und.edu/daumier-prints/.
Aside from making powerful politically-charged images that reflected his pro-republican views, Daumier satirized lawyers, doctors, businessmen, professors, and lifestyles of the bourgeoisie. Although the inscriptions that accompany Daumier’s lithographs were not written by him, one might assume they mostly conveyed the spirit of the artist’s intent behind his images.
Published in Le Charivari
Les chiens replongés dans un redésespoir... c. 1855
English: The dogs are again falling into despair after having heard that there will be a new dog license tax after all.
Lithograph, published in Le Charivari, initialed in the lithographic stone
Purchased with funds from the Myers Foundations
University Art Collections: Art & Design Study Collection
In 1855, a tax on dogs had just been initiated in France and along with it came the first efforts to protect animals from cruelty. While Daumier’s print might be explained simply in these terms, it may also convey an anti-establishment attitude toward the French government. Published during the Second Empire, at a time when political dissent was suppressed, the dismayed dogs might metaphorically suggest disapproval of the government and its Emperor by the people.