Undergraduate Review
Volume 11 | Issue 1
Article 4
1998
"Daumier Was No Camera"
Sarah Studnicki '00
Illinois Wesleyan UniversityThis Article is brought to you for free and open access by The Ames Library, the Andrew W. Mellon Center for Curricular and Faculty Development, the Office of the Provost and the Office of the President. It has been accepted for inclusion in Digital Commons @ IWU by the faculty at Illinois Wesleyan University. For more information, please [email protected].
Recommended Citation
view
6, 153-163, Oxford University Press, 1997.
arshan, George. Doubt and Certainty. Pp. 173
lks, 1998.
"Daumier Was No Camera"
by Sarah Studnicki
For a man who did not hold lithography in very high regard as an art form in his early career, Honore Daumier became a prolific artist in this genre, producing thousands ofdrawings throughout his life. While working at La Charivari, a French political magazine, Daumier completed 1600 lithographs in approximately ten yearsI. Due to
Daumier's numerous achievements in his field, I will concentrate only on those lithography series done for La Charivari between the passing of the September censorship laws of 1835 and the subsequent round of French Revolution that occurred in 1848. The September Laws were the French governrnent's way ofhushing the politically dissatisfied press during a socially turbulent era in France's history. However, these stem restrictions did not quiet the press or the reactionaries; it made them hone their talents as they worked around the political repression. Instead of directly criticizing the King or a specific politician, the censorship laws forced the artists and writers to think of increasingly more creative
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methods of attack. This period of time also marks a stage in Daumier's career where he was fully devoted to his lithography. Later in his life, he concentrated most of his effort on painting and spent his nights bearing his monthly lithography burden to La Charivari.
Born in 1808 to an aspiring writer and his wife, Honore-Victorin Daumier grew up in various locations throughout France, as his father desperately tried to make a living through his literature. Although art teachers schooled him for short periods of time, Daumier did not have intensive formal training. Alexandre Lenoir was the most important among those who had a hand in Daumier's education.2 Lenoir's love of
Michaelangelo transferred directly into Daumier's illustrious drawing style. Lenoir was also passionate about the Louvre's collection of classical sculpture and forced an unenthusiastic Daumier to copy many a Roman nose.3 Perhaps this seemingly trivial work further motivated
Daumier's biting recreations of classicism later in his career. Most accounts of Daumier's life reveal drawing as his first interest in art. Supposedly, the artist himself stated at an early age, "I want to draw." However, Howard P. Vincent, author of Daumier and His World, claims that Daumier, like his father, had a life-long dream to be known for something other than what he was. His father wanted to be a writer but instead worked as a book-maker; Daumier longed to be a painter,
bu~
worked as an illustrator.In lithography, Daumier found a medium between his inherent skills as a draftsman and his ambition to paint. In many of his lithographs, he used monochromatic swaps of the greasy pencil just as effectively as ifhe held an entire color palette in his hand. One can say that lithography and Daumier found each other in Paris. This means of printing had only recently become indispensable to Parisians around 1828, when the Department of the Seine itself contained 23 shops, up from a single novelty venture in 1815.4 In 1798, German playwright Aloys Senefelder
discovered lithography as a cheap and quick alternative to print his scripts. Lithography soon entered the studios of important artists like Gros, Guerin, Ingres, Delacroix, Gericault and Goya, as well as the print shops ofthe cheap press.5 The potential duality oflithography, as a fine art and an art for the masses, paralleled Daumier's wish to be a fine artist able to reach the people.
During those years of struggle for a free press, the "people" were of great concern to many members of French society. The various political factions each had their own publications with which to rally their particular causes. Consequently, the success of revolts relied on the
-people's support. There were three groups wl Legitimists (Monarchists, Orleanists), who fa' Republicans, who believed in a constitutional I
contemporary government. Though all factio! another, the Legitimists and the Republicans s the government. An ardent fighter for journal Philipon was a fierce Republican who took ad' press, by simultaneously running papers and p ambivalent King LouiS-Philippe to his promis~
Philipon had as little political confidence in Lal
Charles X, whom the French had forced into a of his stranglehold on the press. Daumier hac concerning the flight of Charles X, for which 1
1829 by La Silhouette.6 Sympathetic to his c( began working with the energetic Philipon. At Daumier attentively heeded the advice of Phil follow in his footsteps. After taking Philipon's Philippe as Gargantua, Daumier quickly landet 1832. Knowing that Philipon had previously gl caricatures, Daumier carelessly signed his nar performing his first act of defiance. The cond: Prison hardly scarred Daumier, who served hi
comfortable political quarters. Ifhis jail time i then it strengthened his repugnance for the pol thus making him a more forceful artist.
While Daumier served his jail term, PI another Republican paper to monitor the King it La Charivari, which means rough music or' granted Daumier a place on the paper immedi Daumier later characterized the staff as a ro\\ header. Philipon's timing could not have been tyrannical King subjected his other paper, La. illegal seizures. The King eventually forced P= down after the passing of the September cellS_ Although in a more subversive manner, La Cr. Philipon and the artist Daumier to continue thl The editors of La Charivari encourag series and Daumier made major contributions Daumier's series, Robert Macaire, which add materialism; Ancient History, which ridiculed ~
2 Undergraduate Review, Vol. 11, Iss. 1 [1998], Art. 4
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period of time also marks a stage in Daumier's
ydevoted to his lithography. Later in his life, he effort on painting and spent his nights bearing burden to La Charivari.
m aspiring writer and his wife, Honore-Victorin ous locations throughout France, as his father : a living through his literature. Although art Ir short periods of time, Daumier did not have :. Alexandre Lenoir was the most important :laIld in Daumier's education." Lenoir's love of :ddirectly into Daumier's illustrious drawing issionate about the Louvre's collection of )rced an unenthusiastic Daumier to copy many a his seemingly trivial work further motivated ions of classicism later in his career. Most fe reveal drawing as his first interest in art. mselfstated at an early age, "I want to draw." ncent, author of Daumier and His World, claims her, had a life-long dream to be known for lilt he was. His father wanted to be a writer, but <-maker; Daumier longed to be a painter, but
>aumier found a medium between his inherent his ambition to paint. In many of his lithographs, swaps of the greasy pencil just as effectively as 'palette in his hand. One can say that lithography
l other in Paris. This means of printing had only
nsable to Parisians around 1828, when the .itself contained 23 shops, up from a single
In 1798, German playwright Aloys Senefelder IS a cheap and quick alternative to print his m entered the studios of important artists like :lacroix, Gericault and Goya, as well as the print
•5 The potential duality of lithography, as a fine sses, paralleled Daumier's wish to be a fine artist
ars of struggle for a free press, the "people" ,many members of French society. The various Id their own publications with which to raily their equently, the success of revolts relied on the
Studnicki
peo~l~'~support. There were three groups who constantly clashed: the
Leg1tim1sts (Monarchists, Orleanists), who favored a monarchy; the Republicans, who believed in a constitutional ruling ofthe nation; and the contemporary government. Though all factions were opposed to one another, the Legitimists and the Republicans shared a common enemy in the government. An ardent fighter for journalistic freedom Charles Philipon v.:as a fierce Republican who took advantage
ofth~
lithography press, by sImultaneously running papers and projects to hold theam.b~valentKin~Louis-Philippe to his promises to ban censorship.
Ph1hpon had as httle political confidence in Louis-Philippe as he did in Charles X, whom the French had forced into abdication in 1830 because of his stranglehold on the press. Daumier had done some freelance work concerning the flight of Charles X, for which he was first published in
1829 by La Silhouette.6
Sympathetic to his convictions, Daumier soon began .working .with the energetic Philipon. At this time, the young Daum1er attentively heeded the advice of Philipon and even strove to follow in his footsteps. After taking Philipon's suggestion to draw Louis Philippe as C!argantua, Daumier quickly landed himself in jail in August of
1832. Knowmg that Philipon had previously gone to jail for one ofhis caricatures, Daumier carelessly signed his name to Gargantua
pe~forming
his first act of defiance. The conditionsofSaint-P~lagie
Pnson hardly scarred Daumier, who served his sentence in the prison'scom~ortablepolitical quarters. Ifhis jail time influenced him in any way, then 1t strengthened his repugnance for the politicians who put him there thus making him a more forceful artist. '
While Daumier served his jail term, Philipon developed yet
~notherRepublican paper to monitor the King. This time he aptly entitled 1t La Charivari, which means rough music or "hubbub".7 Philipon
granted Daumier a place on the paper immediately upon his release . Daumier later characterized the staff as a rowdy band for the paper's header: Phil~pon'st~mingc~uldnot have been better, for the increasingly tyrann1cal Kmg subjected h1s other paper, La Caricature, to countless illegal seizures. The King eventually forced Philipon's paper to close down after the passing of the September censorship laws in 1835. Although in a more subversive manner, La Charivari allowed the activist Philipon and the artist Daumier to continue their political attacks.
The editors ofLa Charivari encouraged their artists to work in series and Daumier made major contributions to this genre. Three of Daumier's series, Robert Macaire, which addressed bourgeois
materialism; Ancient History, which ridiculed society's and, especially, the
21 3 Studnicki '00: "Daumier Was No Camera"
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artistic world's fascination with neoclassicism; and Bluestockings, which poked fun at the hard-core feminists ofDaumier's day, made distinct social comments on French urban life drawn from Daumier's Realist perspective. Influenced by his circle of Realist friends, which included artists Millet and Courbet and writers Flaubert, Zola, and Baudelaire, Daumier focused the subject matter of his art on the present time and the world around him.
After La Caricature had shut down, Daumier completed a catalog ofFrench types that included "The Errand Boy," "The Tailor," "The Public Stenographer," "The Banker," "The Man of Leisure," "The Cook," "The Restaurateur," "The Coiffeur," "The Wig-Maker," "The Art
Student," and "The Butcher."8 This exercise served as fodder for his first great series, Robert Macaire, which lasted from August of 1836 until November 1838. The actor Lemaitre created Robert Macaire from a floundering play. Philipon latched onto the character, developed his numerous schemes, and trusted Daumier to give them life through illustration. Macaire became a national symbol for an entire age that at once embodied the ideals of the money-hungry French society of the mid
1800s, but also ridiculed these same thoughts. Daumier followed the example of Lemaitre by giving Macaire an ambiguous physical description in order to avoid any trouble from the government censors. The actor drew his inspiration directly from a wandering vagrant he randomly encountered in the street one day:
His hair was dressed in windblown style under a shapeless top hat. One eye was covered with a black patch. A voluminous red flannel scarf covered his face from the nose down and hid the place where a shirt ought to have been but was not. From a pocket of what had once been a green coat with silver buttons cascaded a bundle of many-colored rags, the remains of a splendid scarf. The right hand with which he gestured magnificently wore the fragments of a white glove; in his left hand he grasped a huge cane. His red military trousers clung to his shanks, and showed dingy white stockings above a pair ofwoman's satin shoes.9
In appearance, the shabby Macaire is the complete opposite of the uppity bourgeois. However, his outfit contains the remnants oftheir social trappings: a top hat, a splendid scarf, white gloves, a cane, a military uniform, and satin shoes. This manner of dressing disgraces not only the bourgeois' textile regalia, but also their way oflife. Daumier's rendered another likeness that was difficult for the censors to prove, but
still obvious to the French people - the Kir the beaten cotton umbrella that Macaire dOl references to Louis-Philippe.
The heists, which the natural-born s accomplish in every episod~ of Daumier's Sl materialism that was prominent in France. dress in any guise in order to take advantagt: of whom were evident in Daumier's earlier Macaire is insatiable: no matter how many much ill-gotten money he has, they are nev€ hunt, the potential ofhaving more which thri Macaire lies in the discrepancy between his and his absurd fantasy of wealth. This is Dc: bourgeois.
The next great Daurnier series dealt Neoclassicism in both the Parisian society aJ
lifetime. The author Baudelaire, a friend of to a damaging plague of locusts. La CharivQ
highlighted the failings ofclassic sculpture: intimacy-all that was completely lacking t( impoverished...until at last it came to Apollo silliest of all the white marble godS."1O The went for the jugular when they blasted the A statue globally regarded as the premiere exal Daumier shared his editors' sentiments whel the public's willingness to give themselves c experienced. Even more poignantly, Dawnic at fine art - a field in which he longed to b~ a series of fifty works published in La Chari
Daumier ridiculed the reluctance of contero}: of their own era. Instead of portraying anti. traditional roles ofbeauty and heroism, Dam "unrefined rustic slobs."11
In Menelaus the Conquerer, he main circumstances of the story of Troy. The bac contained the burning city submerged under smoke. Intense white flames surround the 1
people near it. Numerous bodies lay in he m faceless. Knowledgeable of antiquity from =
study with Lenoir, Daumier blasphemed the
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with neoclassicism; and Bluestockings, which feminists ofDaumier's day, made distinct
rr urban life drawn from Daumier's Realist ,his circle ofRealist friends, which included md writers Flaubert, Zola, and Baudelaire, let matter of his art on the present time and the
re
had shut down, Daumier completed a It included "The Errand Boy," "The Tailor," ," "The Banker," "The Man of Leisure," "The ," "The Coiffeur," "The Wig-Maker," "The Arter."8 This exercise served as fodder for his [acaire, which lasted from August of 1836 until
) f Lemaitre created Robert Macaire from a
llatched onto the character, developed his LISted Daumier to give them life through me a national symbol for an entire age that at Dfthe money-hungry French society of the mid lese same thoughts. Daumier followed the ving Macaire an ambiguous physical
,id any trouble from the government censors. tion directly from a wandering vagrant he :he street one day:
led inwindblown style under a shapeless top
Iwith a black patch. A voluminous red flannel m the nose down and hid the place where a lut was not. From a pocket of what had once
ver buttons cascaded a bundle of many-colored mdid scarf. The right hand with which he Jre the fragments of a white glove; in his left me. His red military trousers clung to his 'white stockings above a pair of woman's satin
e shabby Macaire is the complete opposite of wever, his outfit contains the remnants of their t, a splendid scarf, white gloves, a cane, a n shoes. This manner of dressing disgraces not
~regalia, but also their way oflife. Daumier's that was difficult for the censors to prove, but
Studnicki
still obvious to the French people - the King. The rumpled top hat and the beaten cotton umbrella that Macaire dons are Daumier's direct references to Louis-Philippe.
The heists, which the natural-born swindler Macaire tried to accomplish in every episod~ofDaumier's serial, paralleled the bourgeois materialism that was prominent in France. Macaire does not hesitate to dress in any guise in order to take advantage of numerous victims, some of whom were evident in Daumier's earlier catalog of French types. Macaire is insatiable: no matter how many swindled possessions or how much ill-gotten money he has, they are never enough. It is the chase, the hunt, the potential of having more which thrills him. The genius of Macaire lies in the discrepancy between his ragged, downtrodden reality and his absurd fantasy of wealth. This is Daumier's warning to the bourgeois.
The next great Daumier series dealt with the onslaught of Neoclassicism in both the Parisian society and the art world during his lifetime. The author Baudelaire, a friend of Daumier's, likened the scene to a damaging plague oflocusts. La Charivari, Daumier's employer, highlighted the failings of classic sculpture: "The life, the movement, the intimacy-all that was completely lacking to [the Greeks]. Statuary was impoverished...until at last it came to Apollo Belvedere, the stiffest, the silliest of all the white marble gods."10 The writers ofLa Charivari
went for the jugular when they blasted the Apollo Belvedere-the antique statue globally regarded as the premiere example of classical genius. Daumier shared his editors' sentiments when he began a series deriding the public's willingness to give themselves over to a past they had never experienced. Even more poignantly, Daumier aimed his satirical powers at fine art - a field in which he longed to be more highly esteemed. In a series of fifty works published in La Charivari between 1841 and 1843, Daumier ridiculed the reluctance of contemporary artists to depict topics of their own era. Instead of portraying antique characters in their traditional roles of beauty and heroism, Daumier reinvented them as "unrefined rustic slobs.""
In Menelaus the Conquerer, he maintained the traditional circumstances of the story of Troy. The background of the composition contained the burning city submerged under a sea of hanging black smoke. Intense white flames surround the Trojan horse and engulf the people near it. Numerous bodies lay in he mid-ground, nameless and faceless. Knowledgeable of antiquity from his many hours of classical study with Lenoir, Daumier blasphemed the sacred by making a mockery
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5 Studnicki '00: "Daumier Was No Camera"
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of the hero and his rescued love. Menelaus does not demonstrate the characteristically heroic muscular stature of the nude rescuer, but shows a saggy frame with a tremendous paunch. Likewise, his sword is not raised in victory, but hangs listlessly from his limp wrist. Only his neck and toe muscles strain not to see or to touch the dead laying before him. The supposedly beautiful Helen is now a frumpy old woman, with appendages as thick and stubby as those of Menelaus. As an added insult, she thumbs her nose at the man who saved her. Many of Daumier's classical reincarnations display women as possessing masculine behavior, thus perverting the ancient story. This was a
powerful statement urging people to live in their own time, not in someone else's history.
Bluestocking was Daumier's series offorty prints that featured "dangerous" women, which ran in La Charivari from January to August of 1844. 12 The name "bluestocking" hails from a mainly female club of
18th century London, sarcastically called the Blue Stocking Society because of the unusual dress of one member, Benjamin Stillingfleet. 13 Some have criticized Daumier because of this series' seemingly sexist nature. However, the object of these prints was not to ridicule women in general, but to satirize a situation in which women played highly visible roles - the feminist movement of the 1840s.
Feminism swept through many cultures during this time, not only in France, but also in England and the United States. Since the
September Laws had limited the range of their political targets, male journalists and satirical artists found a new source of material in the "threat" of these women who demanded that more and more of their human rights be delivered to them. These bluestockings also educated themselves and wanted a place in the job market alongside the learned men. This kind of equality went against everything that the patriarchal society believed about women. As a result, they saw intellectually motivated women as threats to the norm of domestic life: '''Bad' wives also usurped male attributes and were shown as posturing, pretentious, willful, neglectful of their household duties and children, adulterous, and even as forcing their men to act as surrogate mothers and
'househusbands. "'14 In Daumier' s Bluestockings, no. 7, a young mother engrossed in her writing turns her back to a messy, unkempt house and a child who is drowning due to her lack of attention. One can certainly see that Daumier added to the contn:>Versy surrounding the vocal women of his time. Perhaps, as with the Macaire series, the presentation of these women as dangerous threats was meant to satirize the stereotype.
Instead of lampooning the women who were It voice, Daumier showed the foolishness of the a these feminists were such a threat.
As Howard Vincent has said, "Daumi saw things with his own human eyes. Instead ( he drew upon his phenomenal powers of recall contemporary world. Through this utterly persl communication, Daumier invites the viewer to] an aura of humanity. This aura is what binds tl work. In Robert Macaire, he served a warning materialistic bourgeois to a real, human level o( named Robert. Daumier broke the myth ofper History, by unveiling the "sacred" classics to H
beneath all that white marble. Bluestockings" assay the frenetic alarmists by highlighting the j
worries: these women were only searching for
Notes
IVincent, Howard P. Daumier and His World University Press, 1968. p. 95.
2Maison, K.E. Daumier Drawings NY: ThoIt 3Laughton, Bruce. Honore Daumier London: 1996. p. 5.
4Vincent. His World p. 8. 5Vincent. His World p.9.
6Hamill, P. "Daumier Dilemma." Art and Ant 66.
7Symmons, Sarah. Daumier London: Oresko 8Vincent. His World p.70.
9Larkin, Oliver. Daumier: A Man of His Tim. 1968. p. 37.
IOVincent. His World p. 101.
I 1Maxmin, Jody. "A Hellenistic Echo in Daun:
International Auguest 1984 v27: 39. 12Symmons. Daumier p. 70.
13Morris, William (editor). The AmericanHeri Houghton Mifflin Company, 1976. Entry for bIt
14Casteras, S.P. "Femmes d'esprit in Daumie:
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[love. Menelaus does not demonstrate the uscular stature of the nude rescuer, but shows
~ndouspaunch. Likewise, his sword is not
listlessly from his limp wrist. Only his neck to see or to touch the dead laying before him. Ielen is now a frumpy old woman, with :ubby as those of Menelaus. As an added e at the man who saved her. Many of mations display women as possessing lerverting the ancient story. This was a
people to live in their own time, not in someone
Daumier's series offorty prints that featured :h ran in La Charivari from January to August
~stocking" hails from a mainly female club of :astically called the Blue Stocking Society
ss of one member, Benjamin Stillingfleet. 13 nier because of this series' seemingly sexist :<:t of these prints was not to ridicule women in uation in which women played highly visible :ment of the l840s.
:rrough many cultures during this time, not only .and and the United States. Since the
ed the range of their political targets, male lists found a new source of material in the vho demanded that more and more of their
to them. These bluestockings also educated ,lace in the job market alongside the learned
~went against everything that the patriarchal men. As a result, they saw intellectually Its to the norm of domestic life: '''Bad' wives es and were shown as posturing, pretentious, household duties and children, adulterous, and
to act as surrogate mothers and
laumier's Bluestockings, no. 7, a young mother LUllS her back to a messy, unkempt house and a e to her lack of attention. One can certainly see .controversy surrounding the vocal women of
1 the Macaire series, the presentation of these
ats was meant to satirize the stereotype.
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In~teadof la~pooningthe women who were merely searching for a
VOIce, Daumier showed the foolishness ofthe alarmists who thought these feminists were such a threat.
As Howard Vincent has said, "Daumier was no camera"·15 he saw things with his own human eyes. Instead of working from
m~dels
he drew upon his phenomenal powers of recall to express his view of the contemporary world. Through this utterly personal method ofcommunication, ~aumie~invite~the viewer to look at his subjects through an aura ofhumamty. This aura IS what binds these three examples of his work., I~~obertMac,aire, he served a warning by reducing the snooty, matenahstIc bourgeOIs to a real, human level occupied by a scoundrel
n~medRobert. Daumier broke the myth of perfect antiquity in Ancient II1story, by unveiling the "sacred" classics to reveal a mortal stature beneath all that,white marble, Bluestockings was Daumier's attempt to assay the frenetIc alarmists by highlighting the foolishness of their worries: these women were only searching for a voice,
Notes
lYincent, Howard P. Daumier and His World Evanston: Northwestern University Press, 1968. p. 95.
:Maison, K.E. Daumier Drawing~ NY: Thomas Yoselhoff, 1960. p. 9. Laughton, Bruce. Honore Daumier London: Yale University Press
1996.p.5. '
4Yincent. His World p.8. 5Yincent. His World p.9.
6Hamill, P. "Daumier Dilemma." Art and Antiques February 1993 viS: 66.
7Symmons, Sarah. Daumier London: Oresko Books, 1979. p. 18. 8Yincent. His World p.70.
9Larkin, Oliver. Daumier: A Man of His Time Boston: Beacon Press, 1968.p.37.
IOYincent. His World p. 10 l.
"Maxmin, Jody. "A Hellenistic Echo in Daumier's Penelope?" Art International Auguest 1984 v27: 39.
12Symmons. Daumier p. 70.
'3Morris, William (editor). The American Heritage Dictionary Boston: Houghton Mifflin Company, 1976. Entry for bluestocking.
14Casteras, S.P. "Femmes d'esprit in Daumier's Caricatures."
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Woman's Art Journal Spring/Summer 1993 v14: 44. 15Vincent. His World p.94.
References
Casteras, S.P. "Femmes d'esprit in Daumier's Caricatures." Woman's
Art Journal Spring/Summer 1993 v 14: 43-6.
Hamill, P. "Daumier Dilemma." Art and Antiques February 1993 v 15: 62-9.
Larkin, Oliver. Daumier: A Man of His Time Boston: Beacon Press, 1968.
Laughton, Bruce. Honore Daumier London: Yale University Press, 1996.
Maison, K.E. Daumier Drawings NY: Thomas Yose1hoff, 1960.
Maxmin, Jody. "A Hellenistic Echo in Daumier's Penelope?" Art
International August 1984 v27: 38-47.
Morris, William (editor). The American Heritage Dictionary Boston: Houghton Mifflin Company, 1976.
Symmons, Sarah. Daumier London: OreskoBooks, 1979.
Vincent, Howard P. Daumier and His World Evanston: Northwestern University Press, 1968.
26
Alphabetical Africa's
Rela~Language and
1\1
by AsraSyed
Language is not a barrier. L enables people in all circum!: cope with a changing world; permits them to engage in at: activities without unduly anta everyone in their immediate' I'm not really concerned wit: As a writer, I'm principally c with meaning. (72)
In this conclusion of his short piece e Abish asserts almost exactly the opposite of his first novel, Alphabetical A/rica. Or as Ri irony of the author ofAlphabetical A/rica as meaning over mere language, or of even sugg divorcing language from meaning, is in itself
-8 Undergraduate Review, Vol. 11, Iss. 1 [1998], Art. 4
