Honoré Daumier, Satire and Exaggeration

America is a freely based country. Imagine that you live in a country without first fix. In lack of freedom of speech, instead of censorship and king control. This is a picture of the entire France of the 19th century. In this era, Honoré Daumier is a famous political social cartoonist. The king and his police persecuted lithographer Daumier, as well as many other French artists, due to his political activities including prison time and fine.

Another French main artist, Honoré Daumier, frequently associated with graphic tradition, painted satirical manga of French society and politics. He found working-class heroes, heroines, and evil lawyers and politicians in the slums and streets of Paris. Like Courbet, he is an enthusiastic Democrat who uses his skills directly as a cartoonist for political purposes. In order to criticize the immorality and ugliness that he is seeing in French society, Daumier emphasizes real-world details and almost sculptural shapes with a vibrant linear style.

In the 1930s and 1940s, Honoré Daumier portrayed relatively lower members of society than any other artist and represented resignation of their patients with numerous paintings and paintings. In contrast, his truly painful account of privilege weaknesses and malicious (especially official) occasionally makes authority unhappy. And that has long used liberalism - and there are good reasons to believe in romanticism. Poetic realism in the 1940 's, basically romanticism gathered a sudden momentum in the revolution and the short - lived Republic of 1848. Jean-François Millet and Gustave Courbet depict the farmers' lives and invested in qualities transcending certain times. . Courbet's "Gravel" (destroyed during World War II in 1849) and painful "Quarriers" by Xiaomi (around 1847, Toledo Museum of Ohio) strongly expressed their creator. Interest in poor people

The social conscious art of Honore Daumier (1808-1879) provides urban art corresponding to Millet. A group of paintings performed by Daumier around 1864 highlights the socioeconomic difference in the newly modernized urban environment, which shows the experiences of modern rail travel in 1st, 2nd, 3rd class trains It is. In the first class (Walters Art Museum, Baltimore), the four dwelling persons had little physical or psychological contact and the three class carriage (29.100.129) had anonymous staff clustered. In the foreground, Daumier obviously isolated a family of three generations without a father, and conveyed the hardships of daily life through a tired posture of a young mother and a sleeping boy. Clearly discreet means, their attitude, clothing, and facial features pay close attention to the best travelers.