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← Honoré Daumier Honoré Daumier — The Misanthropist (Misantropie), from L'imagination

The Misanthropist (Misantropie), from L'imagination

Original title: The Misanthropist (Misantropie)..., from L'imagination, published in Le Charivari, February 10, 1833

Artist
Honoré Daumier
Date
February 3, 1833
Medium
Lithograph; second state of two (Hazard & Delteil)
Dimensions
Sheet: 12 11/16 × 9 7/16 in. (32.2 × 24 cm) Image: 9 7/16 × 7 7/8 in. (24 × 20 cm)
Credit line
Gift of Arthur Sachs, 1923

kurzbeschreibung

Honoré Daumier's lithograph Der Menschenfeind (Misanthropy), made in 1833, presents a brooding man in a study crowded with books and assorted objects. The sheet belongs to the series L'imagination and appeared in Le Charivari on 10 February 1833. This is the second state of two known printings.

Description

A man sits motionless on a chair, his posture pensive or worn down. Bookcases fill the wall behind him. A bust stands on the table, surrounded by small figures carrying cups and baskets. On the floor lies a plate with a snake, and a pot and a gourd are among the other props. Muted, dark tones and light falling from above pick out the contours and give the image a somber mood.

Context

The lithograph was made during the July Monarchy, a period of political and social tension in France. Daumier drew for the satirical journal Le Charivari, known for its critical caricatures. In the series L'imagination he took up human folly and social grievances. The sheet carries the date 3 February 1833 and was published on 10 February of the same year.

Impact

An oppressive, inward-turned atmosphere emanates from the print and invites reflection. Realistic detail and caricatural touches sit side by side, giving the work its peculiar tension. The somber mood underlines the protagonist's misanthropic stance.

Technique

Executed as a lithograph, a printing process that relies on the repulsion of grease and water. Daumier used this technique to achieve fine lines and shading. The sheet is the second state of two, meaning further corrections or additions were made after the first printing.

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Source: Metropolitan Museum of Art · Public Domain (CC0 1.0)