Oui c'est Agamemnon c'est ton Roi qui t'éveille!... (Iphigénie), plate 13 from "Physionomies tragico-classiques"
Original title: Oui c'est Agamemnon c'est ton Roi qui t'éveille!... (Iphigénie), plate 13 from "Physionomies tragico-classiques"
kurzbeschreibung
Honoré Daumier's 1841 lithograph draws on a scene from the tragedy Iphigenia. Two figures in classical-style robes appear: a woman on the left and, facing her, a man who seems to be trying to calm her. The print belongs to the series 'Physionomies tragico-classiques'.
Description
Against a background densely filled with writing, two people confront each other. The woman on the left wears a long-sleeved garment, and her glance betrays alarm. Her counterpart on the right, in a simple shirt and with a head covering, has raised one hand as if to explain or emphasize something. The arrangement feels animated, and the gestures suggest a heated exchange. The scene is executed in monochrome gray tones, with clearly drawn outlines and carefully graded shading.
Context
In the 1840s Daumier published his series 'Physionomies tragico-classiques' as mocking companions to the theater world of his day. This print takes aim at a scene from Jean Racine's tragedy 'Iphigénie' (1674), in which Agamemnon reveals to his daughter that she is to be sacrificed. It appeared on April 27, 1841, in the Parisian satirical journal 'Le Charivari'. Daumier used the classical material to poke fun at the exaggerated theatricality of contemporary stage productions.
Impact
The overwrought dramatics of the two figures produce a comic effect. Because the lofty subject meets everyday gestures, the tragedy feels unmasked and invites a smile. The animated layout and expressive faces give the print a lively, almost caricature-like presence.
Technique
The print was made as a lithograph, a process in which the drawing is applied to a stone with greasy chalk and then pulled. Daumier used fine hatching and strong contours to bring out bodies and shadows. This allowed quick, inexpensive reproduction, which was just right for publication in satirical journals.
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Source: Metropolitan Museum of Art · Public Domain (CC0 1.0)