ALL: Master Collection List

 

Nationality

French

Artist Dates

1808-1879

Preview

image preview

Date of Work

1847

Medium

Lithograph

Signature

Initialed in the lithographic stone.

Height

12 1/4"

Width

9 1/4"

Collection/Provenance

Art & Design Study Collection

Status

Stored: FF_010_D

Location

UND Art Collections Repository

Artist Bio

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.

Additional Information

Series: LES BONS BOURGEOIS

Published in Le Charivari

Original text: Position réputée la plus commode pour avoir un joli portrait au Daguerréotype. 1847

English: Recommended position for having a perfect Daguerreotype portrait taken.

Lithograph, published in Le Charivari, initialed in the lithographic stone

Purchased with funds from the Myers Foundations

University Art Collections: Art & Design Study Collection

Photography in the 1840s was an exciting new technology—but it had serious limitations, especially long exposure times. In this depiction of a photographic studio, Daumier mocks the contraptions that were used by photographers to keep their human subjects perfectly still to avoid blurry portraits.

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