Plate 11: Someone stole a thousand franc note from me, Monsieur..., from 'Caricaturana,' published in Les Robert Macaires
Original title: Plate 11: Someone stole a thousand franc note from me, Monsieur..., from 'Caricaturana,' published in Les Robert Macaires
kurzbeschreibung
A man in a red shirt and glasses sits across from a woman in a large sun hat in what appears to be an information office. Honoré Daumier captured this encounter in an 1838 color lithograph, part of the Caricaturana series published in the journal Les Robert Macaires. The print was issued as a color lithograph on wove paper, in the second state of two (Delteil).
Description
Legs propped on the desk, a cigar stub in his hand, the man with glasses and a red shirt has made himself comfortable. Opposite him sits a woman whose large white sun hat stands out; she carries a bouquet and a bag. The setting is an office labeled 'Bureau des Renseignements.' Papers and a pen lie on the desktop, and to the side stands a cabinet with labeled boxes such as 'Vol au Pot' and 'Vol à la Grenade.' The light is dim, the colors mostly subdued, accented only by red and white.
Context
Daumier created the Caricaturana series with the writer Charles Philipon, and it was published in 1838 in the satirical journal Les Robert Macaires. The main character, Robert Macaire, was a notorious swindler and came to symbolize corruption and fraud in the justice system and finance of the July Monarchy. In his caricatures, Daumier took up contemporary scandals and social ills, often setting them in courtrooms and offices.
Impact
The caricature's irony stems above all from the man's casual, almost indifferent posture, which exposes the swindler's supposed composure. The muted palette and the detailed office furnishings make the encounter seem ordinary while underscoring its morally dubious character. The contrast between the red shirt and the white hat draws attention to the two figures and their roles.
Technique
The print was made using color lithography on wove paper: the image is drawn with greasy chalk on a stone and then transferred to paper. Daumier used this process for his satirical series because it allowed quick, inexpensive reproduction. In the present second state of the print, there may be differences from the first state, which is relevant to the print's history.
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Source: Metropolitan Museum of Art · Public Domain (CC0 1.0)