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← Honoré Daumier Honoré Daumier — Les Sous-Sols, from Croqius Parisiens, published in Le Charivari, December 2, 1856

Les Sous-Sols, from Croqius Parisiens, published in Le Charivari, December 2, 1856

Original title: Les Sous-Sols, from Croqius Parisiens, published in Le Charivari, December 2, 1856

Artist
Honoré Daumier
Date
December 2, 1856
Medium
Lithograph; second state of two (Delteil)
Dimensions
Sheet: 9 15/16 × 14 11/16 in. (25.3 × 37.3 cm) Image: 7 5/8 × 10 1/8 in. (19.4 × 25.7 cm)
Credit line
Rogers Fund, 1922

kurzbeschreibung

A top hat, a cigarette, and a man wedged headfirst into a tight round hole — Honoré Daumier's lithograph 'Les Sous-Sols' from 1856 presents a grotesque encounter in everyday Paris. The print belongs to the series 'Croquis Parisiens' and appeared on December 2, 1856, in the journal Le Charivari.

Description

A gentleman in a suit and top hat stands with a cigarette in hand, scrutinizing a second man whose head is stuck in a narrow circular opening. The trapped man looks upward with a worried expression, while the other seems to be questioning him. A door and a window suggest an interior. Light falls from above, accentuating shadows and the contours of the two figures. The caricatural style thrives on exaggerated faces and the absurd situation.

Context

Daumier drew this lithograph for the satirical journal Le Charivari, where he regularly lampooned social and political topics. The series 'Croquis Parisiens' was devoted to scenes and types of Parisian life. The man in the hole can be read as an image of cramped conditions and social decline in the urban milieu. Thus the print exemplifies Daumier's critical view of nineteenth-century Parisian society.

Impact

The absurd situation and exaggerated facial expressions initially produce a comic effect. At the same time, a slight irritation lingers, since the exact meaning of the scene does not immediately reveal itself. Humor and social observation combine in a way typical of Daumier, prompting reflection on what is shown.

Technique

Drawn with greasy crayon on stone and printed in the planographic process of lithography. The present impression is the second state of two (according to Delteil), indicating that the printing plate was reworked. The technique allows for fine lines and shading, visible in the rendering of light and shadow.

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