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← Honoré Daumier Honoré Daumier — Plate 34: Hell! Common manners must be respected, from 'Caricaturana,' published in Les Robert Macaires

Plate 34: Hell! Common manners must be respected, from 'Caricaturana,' published in Les Robert Macaires

Original title: Plate 34: Hell! Common manners must be respected, from 'Caricaturana,' published in Les Robert Macaires

Artist
Honoré Daumier
Date
1838
Medium
Lithograph on wove paper; third state of three (Delteil)
Dimensions
Image: 8 3/16 × 10 5/8 in. (20.8 × 27 cm) Sheet: 10 1/4 × 13 3/8 in. (26.1 × 34 cm)
Credit line
Gift of Edwin De T. Bechtel, 1953

kurzbeschreibung

Honoré Daumier made this print in 1838 for the 'Caricaturana' series, which appeared in 'Les Robert Macaires'. It was printed as a lithograph on wove paper and is presented here in the third of three states (Delteil). Two men are shown: one has leaned back in an ornate armchair, the other stands beside him.

Description

A man slumps exhausted in a heavily padded armchair, his face betraying strain or pain. The second man, standing next to him, hands him something and looks on with worry, almost alarm. The room stays bare: a table, a candle holder at the back, a small dog lying relaxed on the floor. Black and white governs the whole, the contours of the figures stand out sharply, and the eye fastens on the pair of seated and standing man.

Context

This 1838 lithograph belongs to the 'Caricaturana' series, published in the journal 'Les Robert Macaires'. Daumier used it for satirical jabs at French society under the July Monarchy, above all at Robert Macaire, a rogue and swindler. The caption 'Diable! Respectons les convenances!' sharpens the ironic attack on hypocrisy and sham morality.

Impact

Luxury and exhaustion collide here so abruptly that the image unsettles and prompts reflection. The ironic caption whets the satirical sting and gives the scene a critical undertone.

Technique

The sheet was printed as a lithograph on wove paper, a process based on the repulsion of grease and water. The third of three states shows that the printing stone was reworked several times. Fine lines and gradations of grey could be captured well with it.

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