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123-574: He was also a serious painter, loosely associated with realism , sometimes blurring the boundaries between caricature and fine art . Although he occasionally exhibited at the Parisian Salon , his paintings were largely overlooked and ignored by the French public and critics of the day. Yet Daumier's fellow painters, as well as the poet and art critic Charles Baudelaire , noticed and greatly admired his work. Later generations would recognize Daumier as one of

246-400: A Grande Galerie along the rue de Richelieu for his famous Orleans Collection of paintings, which was easily accessible to the public. Designed by the architect Jules Hardouin-Mansart , it was constructed around 1698–1700 and painted with Virgilian subjects by Coypel . The cost of this reconstruction totaled about 400,000 livres . Hardouin-Mansart's assistant, François d'Orbay , prepared

369-563: A balustrade and a view of the sky. The General Assembly chamber was first a chapel, then, under Price Napoleon, a gallery of paintings. It has been changed more than any of the other rooms in the Council. At one end is a long table, with a seat in the center for the Vice President of the Assembly, who chairs the meetings, and the six presidents of the sections of Council. The decoration of the room

492-656: A boldly inelegant style inspired by popular prints , shop signs, and other work of folk artisans. In The Stonebreakers , his first painting to create a controversy, Courbet eschewed the pastoral tradition of representing human subjects in harmony with nature. Rather, he depicted two men juxtaposed against a charmless, stony roadside. The concealment of their faces emphasizes the dehumanizing nature of their monotonous, repetitive labor. The French Realist movement had stylistic and ideological equivalents in all other Western countries, developing somewhat later. The Realist movement in France

615-536: A bookstore frequented by artists where he began to draw. He received some mentorship from Alexandre Lenoir , attended the Académie Suisse , learned lithography , and was producing advertisements, illustrations, and caricatures by the time he was twenty. After the July Revolution of 1830 he begin working for satirical political papers that were highly critical of the new monarch Louis Philippe I and his court. He

738-571: A bronze edition were Barbedienne in an edition of 25 & 30 casts and Valsuani with three special casts based on the previous plaster castings from the gallery Sagot - Le Garrec clay collection. These bronze busts are all posthumous, based on the original, but frequently restored unbaked clay sculptures. The clay in its restored version can be seen at the Musée d'Orsay in Paris. From the early 1950s on, some baked clay 'Figurines' appeared, most of them belonging to

861-545: A fine of 500 francs. However, his sentence was suspended at that time and Daumier returned to work where he continued to produce provocative and antagonistic lithographs for the papers. It was at this time he started work on his first sculptures, the Célébrités du Juste Milieu (1832–1835). Later that year, his cartoon The Court of King Pétaud (1832) was published and he was arrested at his parents apartment in August 1832 and placed in

984-663: A general site plan, showing the Palais-Royal before these alterations were made. When the Duke of Orléans died in 1701, his son became the head of the House of Orléans . The new Duke and Duchess of Orléans took up residence at the Palais-Royal. Two of their daughters, Charlotte Aglaé d'Orléans , later the Duchess of Modena , and Louise Diane d'Orléans , later the Princess of Conti , were born there. At

1107-529: A legitimised daughter of Louis XIV and Madame de Montespan, the King deeded the Palais-Royal to his brother. The new couple did not occupy the northeast wing, where Anne of Austria had originally lived, but instead chose to reside in the Palais Brion. For the convenience of the bride, new apartments were built and furnished in the wing facing east on the rue de Richelieu . It was at this time that Philippe commissioned

1230-459: A letter reading: "Dear old comrade: I had a little house at Valnondois, near Isle-Adam, which was of no use to me. It occurred to me to offer it to you, and finding this was a good idea, I had it registered with the notary. It's not for your sake I am doing this, but to annoy the landlord." Although he was living a humble life away from Paris, in poverty and debt, and with failing eyesight, some belated recognition of his life's work begin to appear in

1353-516: A literary editor, who is reported to have said of Daumier's lithographs "Why, this fellow's got Michelangelo in his blood !" Daumier's caricature of King Louis Philippe , titled Gargantua , was published in December 1831. He was brought to court in February 1832 and charged with "inciting to hatred and contempt of the government and insulting the king " and sentenced to six months imprisonment with

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1476-538: A living, and found a receptive audience when he did. By the mid 1860s, a few collectors were starting show some interest in his drawings and watercolors. Daumier spent the summer of 1865 in Valmondois , north of Paris with Théodore Rousseau , who was in declining health, and soon he left Montmartre permanently and rented a small cottage in Valmondois, where he lived for the remainder of his life. Although he had touched on

1599-466: A month, but with very little time to paint. In 1866 he was producing 70 lithographs a year and earning 200 francs a month. In 1870, during the Franco-Prussian War , the newspapers stopped publishing and Daumier was signing promissory notes for his debts. His loyal friend, Jean-Baptiste-Camille Corot , secretly bought the house Daumier had been renting in 1868 and bestowed it to him as a surprise, in

1722-436: A new idea, painting the same subject repetitively, as many as 20 times, until he felt satisfied the theme was exhausted. Some of the subjects he repeatedly explored include: doctors, lawyers and the judicial system, theater and carnival subjects often in stage lighting (including actors, musicians, audiences, and backstage scenes), painters and sculpture in their studios, print and art collectors and connoisseurs, working people on

1845-551: A notable number of sculptures in unbaked clay. In order to save these rare specimens from destruction, some of these busts were reproduced first in plaster. Bronze sculptures were posthumously produced from the plaster. The major 20th-century foundries were F. Barbedienne Barbedienne , Rudier  [ fr ] , Siot-Decauville  [ fr ] and Foundry Valsuani  [ fr ] . Eventually Daumier produced between 36 busts of French members of Parliament in unbaked clay. The foundries involved from 1927 on to produce

1968-714: A number of later movements and trends in art, some involving careful illusionistic representation, such as Photorealism , and others the depiction of "realist" subject matter in a social sense, or attempts at both. The Realist movement began in the mid-19th century as a reaction to Romanticism and History painting . In favor of depictions of 'real' life, the Realist painters used common laborers, and ordinary people in ordinary surroundings engaged in real activities as subjects for their works. The chief exponents of Realism were Gustave Courbet , Jean-François Millet , Honoré Daumier , and Jean-Baptiste-Camille Corot . Jules Bastien-Lepage

2091-567: A number of years, it was in the late 1840s that he became increasingly dedicated to painting. He exhibited at the Salon for the first time in 1849, showing The Miller, his Son and the Ass . The painter Boissard de Boisdenier was a neighbor with an apartment in the Hôtel Lauzum (a.k.a. Hôtel Pinodan), which was a gathering place for writers, poets, painters, and sculptors where Daumier met many prominent artist of

2214-427: A piece. About one hundred artist submitted sketches and designs anonymously to a jury that included Alexandre-Gabriel Decamps , Eugène Delacroix , Paul Delaroche , Jean-Auguste-Dominique Ingres , Philippe Auguste Jeanron , Alphonse de Lamartine , Ernest Meissonier , and Théophile Thoré-Bürger . Daumier presented an oil sketch, The Republic (now in the Musée d'Orsay) that was very well received, and included among

2337-633: A similar manner. Gloomy earth toned palettes were used to ignore beauty and idealization that was typically found in art. This movement sparked controversy because it purposefully criticized social values and the upper classes, as well as examining the new values that came along with the industrial revolution. Realism is widely regarded as the beginning of the modern art movement due to the push to incorporate modern life and art together. Classical idealism and Romantic emotionalism and drama were avoided equally, and often sordid or untidy elements of subjects were not smoothed over or omitted. Social realism emphasizes

2460-604: A sum of 1,000 francs. Five months later the sum was raised to 1,500 francs. The Académie des Beau-Arts pursued the issue for 14 years, yet Daumier never produced a sketch or a painting, although he had accepted advances in payment. Ultimately he gave the government a gouache in 1863, The Drunkenness of Silenus (1849, Musée des Beaux-Arts, Calais), that had been exhibited in the solon of 1850. Starting around 1853, he often spent summer months visiting Valmondois and Barbizon , where Corot , Daubigny , Millet , Rousseau , and others were painting, deepening his ties and friendships with

2583-422: A time during the short run of the paper. Charles Philipon and Gabriel Aubert, founded another satirical paper, La Caricature in 1830, starting up just as La Silhouette was folding under pressure from the monarchy. La Caricature invited Daumier to join its staff, a formidable group including Achille Devéria , Jean Ignace Isidore Gérard (J. J. Grandville), Auguste Raffet . and a young Honoré de Balzac as

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2706-461: A time of social and political upheaval. Daumier learned lithography from Charles Ramelet (1805–1851) and found work with Zéphirin Belliard (1798–1861), producing (often anonymously), miscellaneous illustrations, advertisements, street scenes, portraits, and caricatures in the mid to late 1820s, albeit honing his craft through the years. After the " Three Glorious Days " of the July Revolution of 1830 (it

2829-616: A woman and her child. The woman is carrying something, possibly a large bag; the figurine is about 14 inches tall. Oliver W. Larkin states that "One sees in the clay the mark of Daumier's swift fingers as he nudged the skirt into windblown folds and used a knife blade or the end of a brush handle to define the clasped arms and the wrinkles of the cloth over the breast. In oil, he could only approximate this small masterpiece most successfully in two canvases were once owned by Arsene Alexandre." Daumier made several paintings of The Heavy Burden . The woman and her child look like they are being pushed by

2952-599: Is a former French royal palace located on Rue Saint-Honoré in the 1st arrondissement of Paris . The screened entrance court faces the Place du Palais-Royal, opposite the Louvre . Originally called the Palais-Cardinal , it was built for Cardinal Richelieu from about 1633 to 1639 by architect Jacques Lemercier . Richelieu bequeathed it to Louis XIII , before Louis XIV gave it to his younger brother, Philippe I, Duke of Orléans . As

3075-445: Is another small square, Place André Malraux. The Council of State , created by Napoleon in 1799, inherited many of the functions of the earlier Royal Council , acting both as a consultant to the government and a kind of Supreme Court. It was installed in the Palais-Royal in 1875. The Conseil has its own courtyard, facing out onto the Place du Palais-Royal and the Rue de Rivoli. Inside is

3198-402: Is closely associated with the beginning of Naturalism , an artistic style that emerged from the later phase of the Realist movement and heralded the arrival of Impressionism . Realists used unprettified detail depicting the existence of ordinary contemporary life, coinciding in the contemporaneous naturalist literature of Émile Zola , Honoré de Balzac , and Gustave Flaubert . Courbet was

3321-470: Is considered by many to be the most renowned Russian artist of the 19th century. Courbet's influence was felt most strongly in Germany, where prominent realists included Adolph Menzel , Wilhelm Leibl , Wilhelm Trübner , and Max Liebermann . Leibl and several other young German painters met Courbet in 1869 when he visited Munich to exhibit his works and demonstrate his manner of painting from nature. In Italy

3444-408: Is constantly updated with new findings. Daumier-Register Realism (art movement) Realism was an artistic movement that emerged in France in the 1840s, around the 1848 Revolution . Realists rejected Romanticism , which had dominated French literature and art since the early 19th century. Realism revolted against the exotic subject matter and the exaggerated emotionalism and drama of

3567-785: Is still there. In 1786, a noon cannon was set up by a philosophical amateur, set on the Paris meridian , in which the sun's noon rays, passing through a lens, lit the cannon's fuse. The noon cannon is still fired at the Palais-Royal, though most of the ladies for sale have disappeared, those who inspired the Abbé Delille 's lines: Dans ce jardin on ne rencontre Ni prés, ni bois, ni fruits, ni fleurs. Et si l'on y dérègle ses mœurs, Au moins on y règle sa montre. ("In this garden one encounters neither meadows, nor woods, nor fruits, nor flowers. And, if one upsets one's morality, at least one may reset one's watch.") The Cirque du Palais-Royal, constructed in

3690-466: Is unknown if Daumier participated in actual street fighting), a number of new illustrated satirical journals emerged in Paris. These were left-wing publications, intended for the working classes. They were largely driven by the idea that the 1830 Revolution which brought Louis Philippe to power, was largely fought and won by the workers, but had been commandeered by the ruling class and bourgeoisie for their own gains and benefits, who in turn were favored by

3813-529: The House of Orléans , Philippe Charles d'Orléans known as the Duke of Chartres . The Académie Royale de Peinture et de Sculpture occupied the Palais Brion from 1661 to 1691 and shared it with the Académie Royale d'Architecture from 1672. The royal collection of antiquities was installed there under the care of the art critic and official court historian André Félibien , who was appointed in 1673. About 1674

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3936-532: The Paris Opera at that time). The Opera's theatre was destroyed by fire in 1763, but was rebuilt to the designs of architect Pierre-Louis Moreau Desproux on a site slightly further to the east (where the rue de Valois is located today) and reopened in 1770. This second theatre continued to be used by the Opera until 1781, when it was also destroyed by fire, but this time it was not rebuilt. Moreau Desproux also designed

4059-563: The Théâtre des Variétés-Amusantes , formerly on the boulevard du Temple but since 1 January 1785 playing in a temporary theatre in the gardens of the Palais-Royal. This company changed its name to Théâtre du Palais-Royal on 15 December 1789, and later moved into the new theatre upon its completion, where they opened on 15 May 1790. On 25 April 1791 the anti-royalist faction of the Comédie-Française , led by Talma , left that company's theatre on

4182-411: The palace was the personal residence of Cardinal Richelieu . The architect Jacques Lemercier began his design in 1629; Construction commenced in 1633 and was completed in 1639. The gardens were begun in 1629 by Jean Le Nôtre (father of André Le Nôtre ), Simon Bouchard, and Pierre I Desgots , to a design created by Jacques Boyceau . Upon Richelieu's death in 1642 the palace became the property of

4305-665: The rue Saint-Honoré (on a site just to the west of what is now the rue de Valois ). It was built from 1637 to 1641 to designs by Lemercier and was initially known as the Great Hall of the Palais-Cardinal . This theatre was later used by the troupe of Molière beginning in 1660, by which time it had become known as the Théâtre du Palais-Royal. After Molière 's death in 1673 the theatre was taken over by Jean-Baptiste Lully , who used it for his Académie Royale de Musique (the official name of

4428-523: The Île Saint-Louis where they lived until 1863. He increasingly associated with writers, poets, painters, and sculptors there, including Baudelaire , Corot , Courbet , Delacroix among others, and began to paint in earnest. He spent his summers from 1853 onward in Barbizon and Valmondois , where artists of the Barbizon school and realist movement worked. As his desire to paint intensified, his enthusiasm for cartooning declined, as did his popularity with

4551-577: The " September Laws " were passed, which imposed drastically higher fines and longer, oppressive prison sentences for publications criticizing the king and his regime. Under the new laws limiting the freedom of the press, criticisms and caricature of the monarchy had to be indirect, veiled, and oblique. Louis Philippe was often represented as a pear or with a pear for head. The tone and subjects of Le Charivari and Daumier's lithographs began to change, turning away from direct political affronts, to lighter and humorous cartoons satirizing broader aspects of society,

4674-640: The "real" world. In the United States, Winslow Homer and Thomas Eakins were important Realists and forerunners of the Ashcan School , an early-20th-century art movement largely based in New York City . The Ashcan School included such artists as George Bellows and Robert Henri , and helped to define American realism in its tendency to depict the daily life of poorer members of society. Later on in America,

4797-563: The 20 finalist. The finalist were expected to enlarge and articulate their submissions into more finalized designs. However Daumier, who was notorious for failing deadlines and poor punctuality, never followed through with an advanced painting. The following year, he received a commission for a painting from the Ministry of the Interior, via the Académie des Beau-Arts, requesting a sketch for approval, for

4920-633: The Charivari. It has been said that Daumier's own experience as an employee in a bailiff's office during his youth may have influenced his rather negative attitude towards the legal profession. In 1834 he produced the lithograph Rue Transnonain, 15 April 1834 depicting the massacre in the Rue Transnonain which was part of the April 1834 riots in Paris. It was designed for the subscription publication L'Association Mensuelle . The profits were to promote freedom of

5043-518: The Council is the Hall of the Tribunal of Conflicts, a kind of courtroom installed in the former dining room of Duchess of Orleans, built by the architect Pierre Contant d'Ivry in 1753. It still preserves much of its original decoration, with pilasters and columns, and decorative medallions of putti representing the four seasons and the four elements. The ceiling has a trompe l'oeil painting from 1852 depicting

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5166-692: The Cour d'Honneur and the Palais-Royal Garden. Following the July Revolution of 1830 when the Duke of Orléans ascended the throne as Louis-Phillipe I, the palace remained the principal residence of the new monarch. In the Revolution of 1848 , a Paris mob attacked and looted the royal residence Palais-Royal, particularly the art collection of King Louis-Philippe. During the Second French Republic ,

5289-414: The Duke of Orléans had André Le Nôtre redesign the gardens of the Palais-Royal. After the dismissal of Madame de Montespan and the arrival of her successor, Madame de Maintenon , who forbade any lavish entertainment at Versailles , the Palais-Royal was again a social highlight. In 1692, on the occasion of the marriage of the duke of Chartres to Françoise Marie de Bourbon , Mademoiselle de Blois ,

5412-525: The Duke's father. Fontaine's most significant work included the western wing of the Cour d'Honneur, the Aile Montpensier, and with Charles Percier , what was probably the most famous of Paris's covered arcades, the Galerie d'Orléans, enclosing the Cour d'Honneur on its north side. Both were completed in 1830. The Galerie d'Orléans was demolished in the 1930s, but its flanking rows of columns still stand between

5535-586: The Gobin collection in Paris. It was Gobin who decided to have a bronze cast done by Valsuani in an edition of 30 each. Again, they were posthumous and there is no proof, in contrast to the busts mentioned above, that these terra cotta figurines really were done by Daumier himself. The American school (J.Wasserman from the Fogg-Harvard Museum) doubts their authenticity, while the French school, especially Gobin, Lecomte, and Le Garrec and Cherpin, all somehow involved in

5658-594: The Grande Galerie along the rue de Richelieu (1719–20; visible on the 1739 Turgot map of Paris ). All of this work was lost, when the Palais Brion was demolished in 1784 for the construction of the Salle Richelieu , now hosting the Comédie-Française . After the Regency, the social life of the palace became much more subdued. Louis XV moved the court back to Versailles and Paris was again ignored. The same happened with

5781-516: The King and acquired the new name Palais-Royal . After Louis XIII died the following year, it became the home of the Queen Mother Anne of Austria and her young sons Louis XIV and Philippe, duke of Anjou , along with her advisor Cardinal Mazarin . From 1649, the palace was the residence of the exiled Henrietta Maria and Henrietta Anne Stuart , wife and daughter of the deposed King Charles I of England . The two had escaped England in

5904-415: The King, in 1663 and 1665; Françoise-Athénaïs, marquise de Montespan , who supplanted Louise; and Angélique de Fontanges , who was in service to the second Duchess of Orléans. The court gatherings at the Palais-Royal were famed all around the capital as well as all of France. It was at these parties that the crème de la crème of French society came to see and be seen. Guests included the main members of

6027-498: The Louvre. In 1822 he became protégé to Alexandre Lenoir , a friend of Daumier's father and the founder of the Musée des Monuments Francais (now Musée national des Monuments Français ), who trained Daumier in the fundamentals of art. The following year he entered the Académie Suisse where he was able to draw from live models and develop friendships with other students including Philippe Auguste Jeanron and Auguste Raffet . Lithography

6150-641: The Ministry of Culture and Communication. The two wings of the building have triangular fronts filled with sculpture, inspired by classical architecture and typical of the Louis XIV style . On the west side of the Council building is Place Colette , and the Salle Richelieu of the Comédie Française . Behind that are the offices of the Constitutional Council. On the left side of the Salle Richelieu

6273-425: The Palais-Royal became one of the first of the new style of shopping arcades and became a popular venue for the wealthy to congregate, socialise and enjoy their leisure time. The redesigned palace complex became one of the most important marketplaces in Paris. It was frequented by the aristocracy, the middle classes, and the lower orders. It had a reputation as being a site of sophisticated conversation (revolving around

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6396-564: The Palais-Royal face south to the Place du Palais-Royal and the Louvre across the Rue de Rivoli . The central part of the palace is occupied by the Conseil-d'État, or State Council. It has three floors, and is topped by a low cupola and a rounded pediment filled with sculpture. Two arched passages under the central building lead to the Courtyard of Honor behind. In the east wing, to the right, are offices of

6519-524: The Palais-Royal. Louis d'Orléans succeeded his father as the new duke of Orléans in 1723. He and his son Louis Philippe lived at the other family residence in Saint-Cloud, which had been empty since the death of the Princess Palatine in 1722. Claude Desgots redesigned the gardens of the Palais-Royal in 1729. In 1752 Louis Philippe I succeeded his father as the duke of Orléans. The Palais-Royal

6642-494: The Press , and Past, Present, Future (all 1834) and spent long hours in the Louvre. The founder and editor of La Caricature , Charles Philipon , also endured a number of convictions and spent more time in prison than in his office during its run, as did many editors, authors, and illustrators of the opposition papers of the period. In 1834 La Caricature followed La Silhouette and collapsed after relentless prosecutions and fines from

6765-458: The Romantic movement. Instead, it sought to portray real and typical contemporary people and situations with truth and accuracy. It did not avoid unpleasant or sordid aspects of life. The movement aimed to focus on unidealized subjects and events that were previously rejected in art work. Realist works depicted people of all social classes in situations that arise in ordinary life, and often reflected

6888-413: The adjacent surviving entrance façades of the Palais-Royal. At the request of Louis Philippe II two new theatres were constructed in the Palais-Royal complex shortly after the fire. Both of these new theatres were designed by Victor Louis , the architect who also designed the shopping galleries facing the garden (see below). The first theatre, which opened on 23 October 1784, was a small puppet theatre in

7011-606: The apartments of the Duchess on the ground floor in 1716 and to decorate the Grand Appartement of the Palais Brion in the light and lively style Régence that foreshadowed the Rococo , as well as the Regent's more intimate petits appartements . Oppenord also made changes to the Grande Galerie of the Palais Brion and created a distinctive Salon d'Angle, which connected the Grand Appartement to

7134-509: The artist of the Barbizon School . By the mid to late 1850s Daumier had reached new levels of artistic maturity and increasingly wished to devote himself to painting. He was growing tired and weary of the grind and endless routine of producing new cartoons at a steady rate of two, three, sometimes as many as eight a week, yet he was dependent on the income. After 30 years of steadfast production, his caricatures were declining in popularity with

7257-663: The artists of the Macchiaioli group painted Realist scenes of rural and urban life. The Hague School were Realists in the Netherlands whose style and subject matter strongly influenced the early works of Vincent van Gogh . In Britain artists such as the American James Abbott McNeill Whistler , as well as English artists Ford Madox Brown , Hubert von Herkomer and Luke Fildes had great success with realist paintings dealing with social issues and depictions of

7380-482: The bourgeoisie, at times scathingly, at other times affectionately. From 1835 to 1845 Daumier lived in the vicinity of Rue de l'Hirondelle and Ile de la Cite. Debt and financial issues were a recurring concern in his life. In one incident in April 1842 his furniture was auctioned off by order of the court to settle his debts. On February 2, 1846, a seamstress named Alexandrine Dassy gave birth to Daumier's illegitimate son, who

7503-401: The center of the garden, has been described as "a huge half-subterranean spectacle space of food, entertainments, boutiques, and gaming that ran the length of the park and was the talk of the capital." It was destroyed by fire on 15 December 1798. Inspired by the souks of Arabia, the Galerie de Bois, a series of wooden shops linking the ends of the Palais-Royal and enclosing the south end of

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7626-589: The changes brought by the Industrial and Commercial Revolutions . Realism was primarily concerned with how things appeared to the eye, rather than containing ideal representations of the world. The popularity of such "realistic" works grew with the introduction of photography —a new visual source that created a desire for people to produce representations which look objectively real. The Realists depicted everyday subjects and situations in contemporary settings, and attempted to depict individuals of all social classes in

7749-489: The chaos that characterised the noisy, dirty streets; a warm, dry space away from the elements; and a safe-haven where people could socialise and spend their leisure time. Promenading in the arcades became a popular eighteenth century pastime for the emerging middle classes. From the 1780s to 1837, the palace was once again the centre of Parisian political and social intrigue and the site of the most popular cafés. The historic restaurant " Le Grand Véfour ", which opened in 1784,

7872-585: The constraining pseudo-classicism of the art of the period. In 1848 Daumier embarked again on his political campaign, still in the service of Le Charivari , which he left in 1863 and rejoined in 1864. Around the mid-1840s, Daumier started publishing his famous caricatures depicting members of the legal profession, known as 'Les Gens de Justice', a scathing satire about judges, defendants, attorneys and corrupt, greedy lawyers in general. A number of extremely rare albums appeared on white paper, covering 39 different legal themes, of which 37 had previously been published in

7995-576: The creator of Robert Macaire , of Les Bas bleus , Les Bohémiens de Paris , and the Masques , in the paintings of Christ and His Apostles ( Rijksmuseum in Amsterdam ), or in his Good Samaritan , Don Quixote and Sancho Panza , Christ Mocked , or even in the sketches in the Ionides Collection at South Kensington. Daumier was not only a prolific lithographer, draftsman and painter, but he also produced

8118-534: The day. It was there he made the acquaintance of Charles Baudelaire , who soon became a close friend and advocate of his work. Baudelaire contributed to a set of essays published in 1852 celebrating Daumier's lithographs and prints calling him "one of our leading men, not only in caricature, but in modern art." In time, Daumier gained the respect and was on friendly terms with artist such as Jean-Baptiste-Camille Corot , Gustave Courbet , Eugène Delacroix , Jean-François Millet , and Théodore Rousseau who, in contrast to

8241-469: The death of Louis XIV in 1715, his five-year-old great-grandson succeeded him. The Duke of Orléans became Regent for the young Louis XV , setting up the country's government at the Palais-Royal, while the young king lived at the nearby Tuileries Palace . The Palais-Royal housed the magnificent Orleans Collection of some 500 paintings, which was arranged for public viewing until it was sold abroad in 1791. He commissioned Gilles-Marie Oppenord to redesign

8364-519: The death of Louise Henriette, her husband secretly married his mistress, the witty marquise de Montesson , and the couple lived at the Château de Sainte-Assise where he died in 1785. Just before his death, he completed the sale of the Château de Saint-Cloud to Queen Marie Antoinette . Louis Philippe II, Duke of Orléans was born at Saint-Cloud and later moved to the Palais-Royal and lived there with his wife,

8487-410: The depiction of the working class , and treating them with the same seriousness as other classes in art, but realism, as the avoidance of artificiality, in the treatment of human relations and emotions was also an aim of Realism. Treatments of subjects in a heroic or sentimental manner were equally rejected. Realism as an art movement was led by Gustave Courbet in France. It spread across Europe and

8610-557: The garden, was first opened in 1786. For Parisians, who lived in the virtual absence of pavements, the streets were dangerous and dirty; the arcade was a welcome addition to the streetscape as it afforded a safe place where Parisians could window shop and socialise. Thus, the Palais-Royal began what architectural historian Bertrand Lemoine  [ fr ] describes as "l’Ère des passages couverts" (the Arcade Era), which transformed European shopping habits between 1786 and 1935. During

8733-516: The garden: the rue de Montpensier on the west, rue de Beaujolais to the north, and rue de Valois on the east. He commercialised the new complex by letting out the area under the colonnades to retailers and service-providers and in 1784 the shopping and entertainment complex opened to the public. Over a decade or so, sections of the Palais were transformed into shopping arcades that became the centre of 18th-century Parisian economic and social life. Though

8856-464: The grand horseshoe stairway of honor, which curves upward along the walls to the landing on the first floor. It is decorated with theatrical effects, including ionic columns, and blind arches giving the illusion of bays. A trompe-l'oeil painting in an archway appears to give a view of a classical statue, above which putti hold wreathes around a bust of Cardinal Richelieu . The stairway was made by Pierre Contant d'Ivry in 1765. The most lavish room of

8979-416: The great French artists of the 19th century, profoundly influencing a younger generation of impressionist and postimpressionist painters. Daumier was a tireless and prolific artist and produced more than 100 sculptures, 500 paintings, 1000 drawings, 1000 wood engravings, and 4000 lithographs. Honoré Daumier came from a poor family and was working by the age of 12, first at a huissier de justice , then at

9102-511: The king. Daumier's first works of note appeared in La Silhouette , the first illustrated weekly satirical paper in France which ran from December 1829 to 2 January 1831. Daumier eagerly threw in his support and began to express his political convictions as a working class republican in opposition to the new monarchy, its bureaucracy, and the bourgeoisie that supported and profited from it. The editors of La Silhouette were prosecuted and jailed for

9225-497: The last years and months of his life. The Second French Empire intended to award Daumier the Legion of Honor ; however, he discreetly declined, feeling it was inconsistent with his political ideals and oeuvre. The French Third Republic again offered Daumier the Legion of Honor and again he declined, although he was later granted a pension of 200 francs a month (2,400 annually) in 1877, which

9348-492: The leading proponent of Realism and he challenged the popular history painting that was favored at the state-sponsored art academy. His groundbreaking paintings A Burial at Ornans and The Stonebreakers depicted ordinary people from his native region. Both paintings were done on huge canvases that would typically be used for history paintings. Although Courbet's early works emulated the sophisticated manner of Old Masters such as Rembrandt and Titian , after 1848 he adopted

9471-572: The left bank (at that time known as the Théâtre de la Nation, but today as the Odéon ), and joined the company on the rue de Richelieu, which promptly changed its name to Théâtre Français de la rue de Richelieu. With the founding of the French Republic in September 1792 the theatre's name was changed again, to Théâtre de la République. In 1799 the players of the split company reunited at the Palais-Royal, and

9594-833: The life of Don Quixote , a theme that fascinated him for the last part of his life. A version of Don Quixote and Sancho Panza was found as part of the 2012 Munich Art Hoard . Daumier's 200th birthday was celebrated in 2008 with a number of exhibitions in Asia, America, Australia and Europe. There is a room-full of caricatures in the museum Am Römerholz in Winterthur . The Daumier website lists all Daumier exhibitions starting from 1848 to present day. Daumier website The Daumier Register , an internet access to all known oil paintings, drawings, lithographs, woodcuts and sculptures by Daumier, with in-depth research results, provenance information, exhibitions, publications and numerous search functions,

9717-472: The main part of the palace ( corps de logis ) remained the private Orléans seat, the arcades surrounding its public gardens had 145 boutiques, cafés, salons, hair salons, bookshops, museums, and countless refreshment kiosks. These retail outlets sold luxury goods such as fine jewelry, furs, paintings and furniture to the wealthy elite. Stores were fitted with long glass windows which allowed the emerging middle-classes to window shop and indulge in fantasies. Thus,

9840-579: The marketing of the bronze editions, are sure of their Daumier origin. The Daumier Register (the international center of Daumier research) as well as the National Gallery of Art in Washington DC would consider the figurines as 'in the manner of Daumier' or even 'by an imitator of Daumier' (NGA) Daumier created many figurines that he subsequently used as models for his paintings. One of Daumier's most well-known figurines, titled The Heavy Burden , features

9963-495: The midst of the English Civil War and were sheltered by Henrietta Maria's nephew, King Louis XIV. The Palais Brion, a separate section near the rue de Richelieu to the west of the Palais-Royal, was purchased by Louis XIV from the heirs of Cardinal Richelieu. Louis had it connected to the Palais-Royal. It was at the Palais Brion that Louis had his mistress Louise de La Vallière stay while his affair with Madame de Montespan

10086-400: The monarchy. However, Philipon had already started another journal, Le Charivari in December 1832, which continued on with much the same content, and even many of the same staff members, including Daumier. On the fifth anniversary of the July Revolution (July 28, 1835), there was an unsuccessful assassination attempt on King Louis Philippe , the " Fieschi attentat ". A couple of months later

10209-471: The night lingered, and smart gambling casinos were lodged in second-floor quarters. The Marquis de Sade referred to the grounds in front of the palace in his Philosophy in the Bedroom (1795) as a place where progressive pamphlets were sold. Upon the execution of the Duke, the palace's ownership lapsed to the state, whence it was called Palais du Tribunat. The Comédie-Française , the state theatre company,

10332-515: The northwest corner of the gardens at the intersection of the Galerie de Montpensier and the Galerie de Beaujolais . Initially it was known as the Théâtre des Beaujolais, then as the Théâtre Montansier, after which Victor Louis enlarged it for the performance of plays and operas. Later, beginning with the political turmoil of the Revolution , this theatre was known by a variety of other names. It

10455-568: The official Salon, although in this period of time it was only held once every two or three years. He suffered a serious illness in 1858. By 1863 Daumier was selling his furniture to raise funds and he left the Ile-Saint-Louis and moved to a succession of lodgings and apartments in Montmartre , losing contact with many friends and associates. Le Charivari presented him with a new contract in 1864 and he returned to making caricatures and cartoons for

10578-462: The original lithographic stone on which the image was drawn. Existing prints of Rue Transnonain are survivors of this effort. Baudelaire noted of him: l'un des hommes les plus importants, je ne dirai pas seulement de la caricature, mais encore de l'art moderne. ( One of the most important men, not only, I would say, in caricature, but also in modern art. ) Vincent van Gogh was also a great admirer of his work. The first of many monographs on Daumier

10701-676: The palace was briefly renamed the "Palais-National". During the Second French Empire of Napoleon III , the Palais-Royal became home to the cadet branch of the Bonaparte family, represented by Prince Napoléon-Jérôme Bonaparte , Napoleon III's cousin. A lavish dining room was constructed in the Second Empire style , and is now known as the Salle Napoleon of the Council of State. During the final days of Paris Commune , on May 24, 1871,

10824-640: The palace, seen as a symbol of aristocracy, was set afire by the Communards, but suffered less damage than other government buildings. As a result, it became the temporary (and later permanent) home of several state institutions, including the Conseil d'Etat , or State Council. Today, the Palais-Royal is the home of the Conseil d'État , the Constitutional Council , and the Ministry of Culture . The buildings of

10947-415: The palace, which were said to be among the most beautiful in Paris. Under the new ducal couple, the Palais-Royal would become the social center of the capital. The palace was redecorated and new apartments were created for the Duchess's maids and staff. Several of the women who later came to be favourites to King Louis XIV were from her household: Louise de La Vallière , who gave birth there to two sons of

11070-464: The press and defrayed legal costs of a lawsuit against the satirical, politically progressive journal Le Charivari to which Daumier contributed regularly. The police discovered the print hanging in the window of printseller Ernest Jean Aubert in the Galerie Véro-Dodat (passageway in 1st arrondissement) and subsequently tracked down and confiscated as many of the prints they could find, along with

11193-894: The prison of Sainte-Pélagie to serve his six months. Daumier remained defiant in prison and wrote a number of letters indicating that he was producing lots of drawings "just to annoy the government." The publication of Gargantua and his imprisonment brought Daumier considerable notoriety, and great popularity among some segments of the public, but little financial gain. After his release from prison on February 14, 1833, Daumier, who had been living with his parents up that time, moved into an artist phalanstery on Rue Saint-Denis, where his friends included Narcisse Virgilio Díaz , Paul Huet , Philippe Auguste Jeanron , Alexandre-Gabriel Decamps , and Antoine-Augustin Préault . He resumed work at La Caricature and continued to publish critical and uncompromising lithographs including Rue Trensnonain , Freedom of

11316-423: The public and critics, and a decisive turning point in the perception of Daumier as an important painter. He died several months later, in February of 1879. As a painter, Daumier was one of the pioneers of realistic subjects, which he treated with a point of view critical of class distinctions. Although associated with the realist movement, he did not identify himself as realist or advocate the ideology of realism in

11439-467: The public, and in 1860 Le Charivari dropped him from their staff and ceased to publish his cartoons. While the next few years were a time of financial hardship and struggle, they were also years with free time to devote to painting, and a time of great productivity and artistic growth. An emerging market for Daumier’s highly finished watercolors depicting scenes of contemporary Parisian life provided him with some minimal income. Daumier exhibited regularly at

11562-407: The public, often admired Daumier's paintings more than his lithographs. Delacroix thought enough of Daumier's drawings to make copies of them to study. The Revolutions of 1848 brought allied liberal, democratic leaders to power in France for a time. When a painting competition for an allegory of the new Republic was announced, Gustave Courbet abstained, and encouraged his friend Daumier to submit

11685-485: The public. Le Charivari stopped publishing his comics in 1860. A period of financial hardship followed, and from 1863‒65 he moved to a series of lodgings around Montmartre and lost contact with many friends. Le Charivari gave him a new contract in 1864 and he resumed making caricatures for an appreciative audience in Paris. Daumier moved to Valmondois in 1865. He experienced failing eyesight and poverty there, although he continued to produce lithographs and paint, often on

11808-421: The revolutionary period, Philippe d'Orléans became known as Philippe Égalité and ruled at the Palais de l'Égalité, as it was known during the more radical phase of the Revolution . He had made himself popular in Paris when he opened the gardens of the palace to all Parisians. In one of the shops around the garden Charlotte Corday bought the knife she used to stab Jean-Paul Marat . Along the galeries , ladies of

11931-548: The romantics, calling him "the one great Romantic artist who did not shrink from reality", in contrast to the historic, literary, and the Near Eastern subjects that characterized much of romantic painting. Jean Leymarie wrote "With the temperament of a Romantic and the approach of a Realist, Daumier belongs to the Barbizon generation, except that his domain was the human figure and not landscapes" Daumier's paintings were radical for

12054-565: The royal family like the Queen Mother, Anne of Austria ; Anne, Duchess of Montpensier , the Princes of Condé and of Conti . Philippe's favourites were also frequent visitors. After Henrietta Anne died in 1670 the Duke took a second wife, the Princess Palatine , who preferred to live in the Château de Saint-Cloud . Saint-Cloud thus became the main residence of her eldest son and the heir to

12177-437: The salons, cafés, and bookshops), shameless debauchery (it was a favorite haunt of local prostitutes), as well as a hotbed of Freemasonic activity . Designed to attract the genteel middle class, the Palais-Royal sold luxury goods at relatively high prices. However, prices were never a deterrent, as these new arcades came to be the place to shop and to be seen. Arcades offered shoppers the promise of an enclosed space away from

12300-399: The streets of Paris, the working class at leisure around a table (eating, drinking, playing chess), first and third class carriages, emigrants or refugees in flight, and Don Quixote . His paintings did not meet with success until 1878, a year before his death. Except for the searching truthfulness of his vision and the powerful directness of his brushwork, it would be difficult to recognize

12423-404: The succeeding Dukes of Orléans made such extensive alterations over the years, almost nothing remains of Lemercier's original design. The Palais-Royal is now the seat of the Ministry of Culture , the Conseil d'État and the Constitutional Council . The central Palais-Royal Garden (Jardin du Palais-Royal) serves as a public park; its arcade houses shops. Originally called the Palais-Cardinal,

12546-587: The term realism took on various new definitions and adaptations once the movement hit the U.S. Surrealism and magical realism developed out of the French realist movement in the 1930s, and in the 1950s new realism developed. This sub-movement considered art to exist as a thing in itself opposed to representations of the real world. In modern-day America, realism art is generally regarded as anything that does not fall into abstract art, therefore including mostly art that depicts realities. Palais-Royal The Palais-Royal ( French: [pa.lɛ ʁwa.jal] )

12669-544: The theatre officially became the Comédie-Française, also commonly known as the Théâtre-Français, names which it retains to this day. Louis Philippe II also had Victor Louis build six-story apartment buildings with ground-floor colonnades facing the three sides of the palace garden between 1781 and 1784. On the outside of these wings three new streets were constructed in front of the houses that had formerly overlooked

12792-569: The theme as early as 1850, he started working on Don Quixote in earnest about 1866 or 1867, painting many canvases on the subject over the next few years. He started experiencing failing eyesight around 1865 or 1866 which progressed with time, although he was still producing drawings and poster designs as late as 1872. He continued to exhibit at the Paris Salons for several years, although the canvases he submitted were often over ten years old. In 1864 he had made 100 lithographs and received 400 francs

12915-401: The theme of Don Quixote . The French Third Republic granted him a pension in 1877, and the following year a major exhibition of his paintings was held in Paris, which received significant recognition in the final months of his life. Daumier died in February of 1879. Various sources give conflicting dates regarding the day of his death: some state February 10, 1879, others February 11. Daumier

13038-465: The time. One author stated " The uncouthness that some connoisseurs of the time saw in Rembrandt's painting, which was described as "ridiculous" and "disgraceful," was accepted in his prints, which did not have the same function or the same public (just as for some people Daumier the lithographer excused the painter, while for others the painter ennobled the lithographer)". Daumier would often set out with

13161-504: The way Gustave Courbet and others did. The art historian Maurice Raynal commented on his relationship with realism "this was not outcome of methods he deliberately chose or took from others. The truth is that realism was both a second nature with him and the consequence of the life he led, Actually, however, he never set up as an adept of realism, indeed it never occurred to him to apply the term to his art: still less to repudiate it" At least one art historian, H. W. Janson placed him among

13284-448: The wealthy Louise Marie Adélaïde de Bourbon whom he had married in 1769. The duke controlled the Palais-Royal from 1780 onward. The couple's eldest son, Louis-Philippe III d'Orléans , was born there in 1773. Louis Philippe II succeeded his father as the head of the House of Orléans in 1785. The Palais-Royal had contained one of the most important public theatres in Paris, in the east wing on

13407-415: The wind, and Daumier used this as a metaphor of the greater forces they were actually fighting against. The woman and her child in the painting are outlined by a very dark shadow. Daumier produced his social caricatures for Le Charivari , in which he held bourgeois society up to ridicule in the figure of Robert Macaire , hero of a popular melodrama . In another series, L'histoire ancienne , he took aim at

13530-583: Was a relatively new form of printmaking in the early 19th century, invented in Germany in the late 1790s. It was a fast and cheap method of mass-producing prints compared to the traditional practices of engraving and etching. Likewise, the art of the caricature, which was relatively established and popular in England (e.g. William Hogarth , Thomas Rowlandson ), was just coming into vogue in France about this time. Lithography studios were emerging in Paris to fill demands for inexpensive illustrated papers and periodicals in

13653-532: Was born in the south of France, in Marseille , to Jean-Baptiste Louis Daumier and Cécile Catherine Philippe. His father Jean-Baptiste was a glazier (corresponding nowadays to a framer), a poet and a minor playwright whose literary aspirations led him to move to Paris in 1814, followed by his wife and the young Daumier in 1816. Although Daumier's father succeeded in publishing a book of verse and having an amateur troupe of actors perform his play in 1819, financial success

13776-813: Was characterized by a spirit of rebellion against powerful official support for history painting. In countries where institutional support of history painting was less dominant, the transition from existing traditions of genre painting to Realism presented no such schism. An important Realist movement beyond France was the Peredvizhniki or Wanderers group in Russia who formed in the 1860s and organized exhibitions from 1871 included many realists such as genre artist Vasily Perov , landscape artists Ivan Shishkin , Alexei Savrasov , and Arkhip Kuindzhi , portraitist Ivan Kramskoy , war artist Vasily Vereshchagin , historical artist Vasily Surikov and, especially, Ilya Repin , who

13899-405: Was converted to a café with shows in 1812, but reopened as a theatre in 1831, when it acquired the name Théâtre du Palais-Royal , by which it is still known today. Louis Philippe II's second theatre was larger and located near the southwest corner of the complex, on the rue de Richelieu . He originally intended it for the Opera, but that company refused to move into it. Instead he offered it to

14022-481: Was increased to 400 a month (4,800 annually) in 1878. A circle of his friends and admirers arranged a large exhibition of his paintings at the Durand-Ruel Gallery in Paris. Although the public had seen an occasional canvas in the salons, this was the first time the full scope and range of Daumier's work was exhibited. It was not the financial success his friends had hoped for, but it was very well received by both

14145-419: Was influential for the rest of the century and beyond, but as it became adopted into the mainstream of painting it becomes less common and useful as a term to define artistic style. After the arrival of Impressionism and later movements which downgraded the importance of precise illusionistic brushwork, it often came to refer simply to the use of a more traditional and tighter painting style. It has been used for

14268-653: Was jailed for several months in 1832 after the publication of Gargantua , a particularly offensive depiction of the King, Louis Philippe. After his release Daumier resumed publishing political lithographs until the September Laws were passed in 1835, limiting the freedom of the press. Afterwards, his cartoons softened, the bourgeoisie and daily Parisian life were more frequent subjects, and when political subjects did appear they were oblique and vailed. Daumier experienced financial hardships and debt throughout much of his life. Daumier married Alexandrine Dassy in 1846 and moved to

14391-691: Was launched in April 2011. A list of almost 1,500 Daumier Exhibitions starting as early as 1849 until present time in the Daumier Website: Daumier exhibits and conferences (Daumier rarely dated his paintings and experts frequently disagree on establishing dates) Since 2000, there has been a comprehensive, trilingual digital catalogue raisonné, the Daumier Register. It contains all of Daumier's works with detailed specifications and background information (lithographs, woodcuts, sculptures, drawings, oil paintings, lithographic stones, woodblocks) and

14514-523: Was minimal and the family lived in poverty. At about the age of twelve ( c.  1820 –21), Daumier started to work because of his father's breakdown. His father found him a job working as an errand boy for a huissier de justice . Later he found employment at Delaunay's, a well established bookstore at the Palais-Royal , a hub of Parisian life, where he began to meet artists, develop an interest in art, and started drawing. He spent much of his free time in

14637-496: Was named Honoré Daumier. The couple were married on April 16, 1846. They moved to 9 Quai d'Anjou, on the Ile Saint-Louis in 1846 where they lived until 1863. One author described the Ile-Saint-Louis at that time as "still a place apart, 'a little provincial town' in the midst of Paris", where toll bridges discouraged casual traffic and artists could find freedom and inexpensive rent. Although Daumier had been doing some painting for

14760-585: Was published less than ten years after his death, by Arsène Alexander, Honoré Daumier, l'hommé et l'oeuvre , in 1888. An exhibition of his works was held at the École des Beaux-Arts in 1901. Daumier's works are found in many of the world's leading art museums, including the Louvre , the Metropolitan Museum of Art and the Rijksmuseum . He is celebrated for a range of works, including a large number of paintings (500) and drawings (1000) some of them depicting

14883-581: Was reorganised by Napoleon in the décret de Moscou on 15 October 1812, which contains 87 articles. After the Restoration of the Bourbons , at the Palais-Royal the young Alexandre Dumas obtained employment in the office of the powerful Duke of Orléans , who regained control of the palace during the Restoration. The Duke had Pierre-François-Léonard Fontaine draw up plans to complete work left unfinished by

15006-506: Was soon the scene of the notorious debaucheries of Louise Henriette de Bourbon who had married to Louis Philippe in 1743. New apartments (located in what is now the northern section of the Rue-de-Valois wing) were added for her in the early 1750s by the architect Pierre Contant d'Ivry . She died at the age of thirty-two in 1759. She was the mother of Louis Philippe II, Duke of Orléans , later known as Philippe Égalité . A few years after

15129-417: Was still an official secret. Henrietta Anne was married to Louis' younger brother, Philippe I, Duke of Orléans in the palace chapel on 31 March 1661. After their marriage, Louis XIV allowed his brother and wife to use the Palais-Royal as their main Paris residence. The following year the new duchess gave birth to a daughter, Marie Louise d'Orléans , inside the palace. She created the ornamental gardens of

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