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Presentation on MHC "Honoré Daumier". 11th grade Sinebryukhova Tatyana Vladimirovna Municipal budgetary educational institution Bogdanovskaya secondary school of the Kamensky district of the Rostov region, Chistoozerny village
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In October 1858, a large article appeared in the newspaper Pen, authored by Charles Baudelaire. The article began: “I want to talk about an artist who occupies one of the leading places not only in the field of caricature, but in modern art in general, about an artist who entertains the Parisians, day after day satisfying their needs for fun and constantly providing them with food for fun. And the humble man in the street, and the businessman, and the boy, and the woman - everyone laughs and - oh, ungrateful ones! - they pass by, often without even looking at the author’s name. To this day, only true connoisseurs of art have been able to understand the significance of his work and treat it with due seriousness. The reader, of course, has already guessed that we are talking about Daumier.”
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Honore Daumier was born in the south of France, in Marseille, in the family of a hereditary glazier. His father, Jean Baptiste, was fond of literature from a young age and even published the poem “Spring Morning,” which brought the author several praises from members of the Marseille Academy. In 1814, Daumier Sr. moved to Paris with his wife and son. His poem “Poetic Dreams,” published in 1823, went almost unnoticed, but Jean Baptiste made many acquaintances, among them Alexandre Lenoir, a major archaeologist, curator of the Louvre, who played a certain role in the artistic education of the future artist. So, Lenoir approved Honore’s first drawings and began teaching the talented boy how to draw. Young Daumier spent many hours in the Louvre, where he lingered especially long in the halls of ancient sculpture, Rembrandt and Rubens. Already the young artist’s first sharp caricatures attracted attention.
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Since February 1832, Daumier became a permanent contributor to the magazine “Caricature”, where his first masterpieces appeared: “Legislative Womb”, “Freedom of the Press”, “Gotcha, Lafayette!” Take it, old man!”, “Transnonen Street April 15, 1834.” Freedom of the press. 1834.
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The artist’s biographers say that even as a child, Daumier sculpted little men from the putty of his glazier father. Already in Paris, Daumier began to create painted clay busts. Thirty-six busts survive, representing satirical portraits of political figures of the July Monarchy. They were carried out by Daumier on a fresh impression, after returning from the meeting room of the Chamber of Deputies, where he could be present in the press boxes. As one of the artist's friends recalled, Daumier worked on the busts for several minutes, modeling the clay with strong and rapid movements of his fingers. These sculptures by Daumier were close to the works of the French romantics Rude and Bari in their dynamism of forms, freedom and ability to generalize, highlighting the main thing. Later, these sculptures became an aid in the creation of the master’s famous lithographs.
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Thus, the lithograph “Legislative Womb” (1834) is a kind of result of work on a satirical portrait. As N. Kalitina, the author of a detailed study on Daumier (1955), notes, “the artist created a group portrait of representatives of the financial aristocracy. He portrayed deputies during a meeting of the chamber. Their faces express absolute indifference to what is happening. Deputies talk among themselves, sleep, read, doze. They are infinitely far from the interests of the people. Their corpulent figures appear one after another on the benches of the meeting room, their faces, swollen with fat or reminiscent of predatory animals, are full of complacency and arrogance.”
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And here’s how one contemporary describes Daumier’s lithograph “Rue Transnonen April 15, 1834”: “This lithograph is scary to look at, it amazes just like the event itself that it reproduces... This murdered old man, this dead woman, this man covered with wounds who fell on the corpse of a poor baby... This is not a caricature, not a caricature, this is a bloody page of modern history, a page created by a living hand and dictated by noble indignation. Daumier reached unprecedented heights in this drawing. He made a painting that, although just a black and white drawing on a piece of paper, did not become any less significant or less durable. The Transnonen Street massacre will remain an indelible stain on its perpetrators. The drawing in question is a timely carved medal in memory of the victory won over a dozen old men, women and children ... "
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During the period 1835–1848 the artist, forced for censorship reasons to abandon political caricature, turns to social caricature and illustration. His wonderful series appear one after another: “Modern Philanthropists”, “Parliamentary Scenes”, “Singles’ Day”, “Marital Morals”, “Pastorals” and many others, which even contemporaries compared with Balzac’s “Human Comedy” - so vividly People of all professions of the then French society are clearly and truthfully depicted. Daumier's first paintings date back to the mid-1830s. Some researchers believe that the development of Daumier as a painter was undoubtedly significantly influenced by his graphics. The artist's first paintings resemble lithographs in their construction. Color does not play an active role in the embodiment of the plan. This is especially noticeable in his painting “Two Lawyers,” executed in parallel with the series of lithographs “Servants of Justice.”
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“Daumier had an amazing, almost divine memory, which served as a model for him,” wrote Baudelaire. “Drawing from memory, possible thanks to innate skill, the transfer of character by gesture, the subordination of reality to creative passion, the division of plastic form in color and shadow, the magazine-caricature origin of the new pictorial form, constant transitions from the comic to the sublime, which corresponded to the creation of new spiritual values, spiritual the strength of a man of the people and the spontaneity of impulses, faith in the moral value of human dignity and freedom - these are the facets of the prism that bears the name of Daumier,” wrote Lionello Venturi in his wonderful book of essays “Artists of Modern Times,” recently published again in our country after a long break .
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Daumier's studio always had a lot of sketches, but these were not sketches, but mostly variants, searches for composition. As researchers note, until the end of the 1850s. Daumier loved, by comparing illuminated and shaded surfaces, to emphasize the contours of figures and highlight their silhouettes against a light background. In the 1860s. his style of writing becomes more temperamental. Light and dark sinuous strokes, connecting and diverging, sculpt the form, emphasizing movement and expression. Daumier either applies paint liquidly to the canvas or writes very impasto. The artist loved dark, somewhat muted colors: deep brown, black, dark gray, reddish-brown tones. Often he added to these tones several spots of green, blue, and reddish-orange. Using free strokes, he drew the contours of the figure, emphasized the volume, and then began to work in color. Understanding drawing as a way to convey color is the Daumier method. Baudelaire sensitively grasped this when he said that “in his pencil lives not only a black tone suitable for contours, it allows one to guess the paint, as well as the artist’s thought... All artists with a subtle understanding of art felt this in his works.” This is a kind of synthesis of light and shadow, coming from Rembrandt, whom Daumier studied deeply.
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In Daumier's paintings one can distinguish grotesque-satirical, lyrical, heroic, and epic lines. It is not without reason that modern researchers of Daumier’s work compare him with Rubens, Rembrandt, Delacroix, Constable, Goya, and Jordaens. “You have to be a man of your time,” Daumier liked to repeat. And he proved this with his paintings. So, after the June massacre of participants in the revolution of 1848, when twenty-five thousand arrests were made, many people were sent into exile, when thousands of workers fled from France to escape the massacre, Daumier created several paintings depicting emigrants. One of them shows a crowd of people moving quickly through a desert area. The diagonal composition of the composition, contrasting lighting, rich colors with sharp flashes of blue, red, and white spots add a feeling of anxiety and drama to the picture.
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The theme of theater occupies a prominent place in Daumier's work. The artist was attracted to the theater, he was interested in the contrasts of theatrical light, mysterious and poetic, changing and distorting the usual appearance of people and objects. Leaving school Ok. 1853–1855
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In the film “Melodrama,” the audience seems to be a mass merged in semi-darkness; their gestures become, as it were, the common gesture of a crowd united by a single impulse. The space of the auditorium is perfectly conveyed. The characters are succinctly depicted, frozen in a tense, dramatic pose.
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A large role in Daumier’s paintings is played by the posture and gesture of a person, allowing him to create a characteristic image. Daumier has a number of works dedicated to the creative artist and art lovers: “The Artist”, “Advice for a Beginning Artist”, “Print Lover”. Lover of prints. OK. 1860
Honoré Daumier (1808 - 1879) Charles Baudelaire, the French poet, noted that the anger with which Daumier exposed evil “proved the goodness of his heart.” Daumier “Self-Portrait” Amara Gergeevna Akharova, 2012. In Germany at the end of the 18th century. a new type of graphics was invented - lithography (from the Greek “cast” - “stone” and “grapho” - “write”, “draw”). The impressions were made by transferring paint under pressure from the flat surface of the stone onto paper. Masters could use this technique to convey many shades of black, strokes and spots of different character, and also perfectly imitate a pencil drawing and an ink sketch. Lithography produced many clear prints and was quickly adopted by the printing industry. Every month Daumier produced about a hundred lithographs. From 1848 to 1871 he created at least four thousand lithographs and the same number of pencil illustrations. The sharpest caricature of King Louis Philippe brought Daumier wide fame, especially increasing after he was sentenced to six months in prison and a fine for it. Honore Daumier. "Legislative Womb". The ithography “legislative womb” is a kind of result of work on a satirical portrait. Here the artist created a group portrait of representatives of the financial aristocracy. n portrayed deputies during a meeting of the chamber. x faces express absolute indifference to what is happening. The spouses talk to each other, sleep, read, doze. nor infinitely far from the interests of the people. x corpulent figures appear one after another on the benches of the meeting room, faces swollen with fat or reminiscent of predatory animals, full of complacency and arrogance. The artist’s constant hero was Louis Philippe, who in all his drawings resembles a huge, clumsy pear. Daumier Honore. "Past present Future" . 1834 O. Daumier “Rue Transnonen” Daumier sensitively and emotionally responded to the terror that came after the July Revolution. The lithograph "Transnonen Street" depicts the tragic ending of the workers' uprisings in 1834. On Transnonen Street, soldiers of the royal army broke into one of the houses and killed all the residents, including women and children. The figure of a dead man in a nightcap lying on the floor emerges from the darkness like a terrible blur. He crawled out of bed and crushed the baby under him. A bright light mercilessly tears out the head of a murdered old woman from the darkness. A woman sprawled in the shadows. In this engraving, Daumier's talent was most fully demonstrated. He masterfully used numerous shades of gray and sharp contrasts of black and white. - Eh, it will be a pity if this fashion ever goes away. .. These ladies do half of my work for me! Honore Daumier. “It’s still very flattering to see your portrait at the exhibition!” 1857 Lithograph from the series "Salon of 1857" "In the Theater" ("Melodrama") (c. 1860 - 64) - Honore Daumier Honore Daumier. Laundress. C. 1860 - 61. wood, oil. Paris, France. Uzey Rse, Arizh, France. Sarcastic, mercilessly mocking in graphics, in painting Daumier appears more like a poet, creating images of people for whom he feels a sense of respect, sympathy, spiritual closeness, and compassion. Honore Daumier. "Don Quixote and Sancho Panza." C. 1865 - 70. 1865 - 70. New Pinakothek, Junchen, Germany. Light, free strokes and individual contrasting spots of paint, when combined, give birth to an expressive and vivid image of Don Quixote. He proudly sits on a skinny horse, upright and selfless, a great dreamer, a big child who sincerely believes in goodness and justice. Daumier Honore. "Third class carriage". Around 1862 - 64, the famous French architect and restorer of 19th-century architecture E. Viollet-le-Duc wrote: “Daumier is a people's artist. He knew how to discern in this world of the people, whose life takes place in semi-darkness, if not in darkness, everything that is living, thinking, human, and, therefore, great for us, other people. These are not humiliated people, not rabble, not braggarts, not vulgarities... These are people - I cannot find words to better explain my thought.” These words fully apply to the painting “Third Class Car”. Everything here is strong, simple, significant. The master had the rare ability to create the impression of many people with the help of several figures. By giving forms in an extremely enlarged and generalized manner, monumentalizing them, aptly capturing the type, sparingly using color, the artist creates a generalized image of the people of France. This is one of the most perfect and significant works of the French master. Honore Daumier “The Artist in Front of Notre Dame” 1834 Honore Victor Daumier “The Artist and the Model” 1870 Daumier was especially fascinated by the topic of art, its role and position in society, the psychology of creativity and perception. Daumier's favorite painting motifs are theatre, circus, print shops, spectators, actors, traveling comedians, artists, collectors Honore Daumier “The Print Lover.” 1857 - 60 Museum of Fine Arts, Paris The years passed... The flames of the first Commune were drenched in the blood of heroes. Daumier is seventy years old. An exhibition of his lithographs, paintings, and sculptures opened in Paris. But the author was not at the opening day. Many thought he was dead. And on this spring day he was sitting in the garden near a small house, basking in the rays of the April sun, but did not see its rays. He was blind. Daumier died in February 1879. His body was transferred to the Père Lachaise cemetery. On the stone slab you can read: “Here lies Daumier. A man of good heart. Great artist, great citizen"
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Honoré Victorin Daumier (French: Honoré Victorin Daumier; February 26, 1879) French graphic artist, painter and sculptor, the greatest master of political caricature of the 19th century.
Daumier was born in Marseille in 1808 into the family of a glazier. Since childhood, he was fond of drawing and mastered the skill of lithograph. At first he made his living by creating lithographs - illustrations for music and advertising publications. In 1832, for a caricature of the king (“Gargantua”, 1831), Daumier was imprisoned for six months. From 1848 to 1871 he created at least four thousand lithographs and the same number of pencil illustrations.
In the 1920s he became well known for his caricatures of political circumstances and the public and private lives of prominent people in France at that time. During the era of Louis Philippe, he began working in the satirical magazine Caricature by Charles Philippon. Daumier's drawing is dry and rough; but the types and scenes he presents are full of life, amazing truth, and at the same time caustic ridicule. Daumier's satirical drawings began to appear in the magazine Charivari. These were scenes from "The Adventures of Robert Macker" (with Philippon's signatures).
This series was followed by others, under the titles: “Les Actualites”, “Les Divorceuses”, “Les Femmes socialistes”, “Les Philanthropes du jour”, “Les Grecs”, “Les Gens de justice”, “Les Pastorales”, “ Locataires el proprietaires”, “Les beaux jours de la vie”, etc. The revolution of 1848 provided the content for two of his most interesting albums: “Idylles parlementaires” and “Les Representants representes”. In 1871, Daumier became a member of the Paris Commune.
Among Daumier's paintings, the following are known: “The Rebellion” (1848), “The Miller, His Son and the Donkey” (1849), “Don Quixote Going to the Wedding” (1851) and “The Washerwoman” (1861). He continued to paint until his death, even when he was completely blind. His grotesque, exaggerated, deliberately crudely executed images aroused the admiration of Manet and Degas; there is an opinion that Daumier was the first impressionist
"Uprising" (1848) "Miller, His Son and Donkey" (1849) "Pears". Caricature of Louis - Philippe (1831) Victor Hugo. (1849) "Don Quixote" (1868) "The Washerwoman" s. Louvre. Paris "Third class carriage". Ok. Metropolitan Museum. New York "Transnonen Street April 15, 1834." Lithograph of Intermission
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