奥诺雷·杜米埃Honoré Daumier

奥诺雷·杜米埃Honoré Daumier（1808年2月26日——1879年2月10日），法国画家、版画家、雕塑家。

人物关系

画派写实主义

中文名奥诺雷·杜米埃
外文名Honoré Daumier
性别男
国籍法国
出生地马赛
出生日期1808年2月26日
逝世日期1879年2月10日
职业画家、版画家、雕塑家

生活

杜米埃出生于马赛让-巴蒂斯特路易·杜米埃和塞西尔凯瑟琳菲利普。他的父亲让-巴蒂斯特是一个玻璃工，其文学愿望促使他搬到巴黎在1814年，寻求出版作为一个诗人。在1816年，年轻的杜米埃和他的母亲随后的Jean-Baptiste巴黎。杜米埃表现在他的青年对艺术专业，他的父亲妄图通过屈居第一个检查不可抗拒的倾向huissier，对他们来说，他受聘为跑跑腿，后来，有书商。1822年，他成为门徒到亚历山大·勒努瓦，杜米埃的父亲的一个朋友，谁是艺术家和考古学家。次年杜米埃进入的Académie瑞士。他还曾为平版和出版商命名BELLIARD，在光刻做了他的第一次尝试。

掌握了这些技术的光刻，杜米埃通过生产用于音乐出版商板，和插图开始了他的艺术生涯的广告。其次为出版商的默默无闻的工作，他在其中模仿的风格CHARLET和显示相当大的热情拿破仑传奇。1830年革命后，他创建了表达了他的政治信仰的艺术。杜米埃是1873年几乎失明。

出版作品

在王朝路易·菲利普，查尔斯Philipon推出的漫画杂志，拉漫画，杜米埃加入其工作人员，其中包括这样强大的艺术家Devéria，Raffet和格兰维尔，并开始在他的讽刺绘画活动，瞄准的弱点资产阶级，法律的腐败和浮躁的无能政府。他对国王作为漫画卡冈导致杜米埃的监禁在科技教育Pelagie于1832年6个月不久之后，出版的La漫画已停产，但Philipon提供了新的领域杜米埃的活动时，他创办了乐沙里瓦里。

杜米埃制作了他对社会讽刺画乐沙里瓦里，在他举行资产阶级社会了罗伯特MACAIRE，一个流行的英雄的身影嘲笑闹剧。在另一系列，欧莱雅史安西安娜，他瞄上了艺术时期的制约伪古典主义。1848年杜米埃他的政治运动再次开始，仍然在服务乐沙里瓦里，这是他离开在1863年和1864年重新加入。

大约在中期19世纪40年代开始杜米埃出版他的著名漫画描绘了法律界人士，被称为“莱斯氏族德正义”，大约法官，被告，律师和腐败，贪婪的律师一般腾腾讽刺的成员。许多极为罕见的专辑出现在白纸上，覆盖39个不同的法律主题，其中的37先前已经发表在沙里瓦里。据说，杜米埃自己的经验，在他的青年在法警的办公室雇员可能影响他对法律界相当消极的态度。

1834年，他制作的版画街Transnonain 4月15日1834年描绘的街transnoin这是一部分的大屠杀1834年4月的骚乱在巴黎。它被设计用于订阅刊物社团出版社Mensuelle。利润是促进新闻自由和拨款支付诉讼的法律费用反对讽刺，政治上进步刊物乐沙里瓦里到杜米埃定期作出了贡献。警方发现打印挂在printseller窗口欧内斯特·吉恩奥贝尔的维侯多达拱廊街（在第一区通道），随后追查并与原来的石印石没收了许多，他们能找到的版画，以及在其上图像绘制。街Transnonain现有的版画是这种努力的幸存者。

雕塑

杜米埃不仅是一个多产的平版，绘图员和画家，但他也产生了显着数量的雕塑在未烘烤的粘土。为了从毁灭中拯救这些罕见的标本，有些萧条转载先打着石膏。青铜雕塑被追授从石膏生产。主要的20世纪代工厂分别为F. BARBEDIENNE BARBEDIENNE，Rudier （FR），槽口-Decauville （FR）和铸造Valsuani （FR）。

最终，杜米埃在未烧结陶土议会法国成员的36半身像之间产生。1927年参与到制作的青铜版的代工厂是BARBEDIENNE在25 30管型和Valsuani基于从Sagot乐Garrec粘土收集以前的石膏铸件三个特殊的演员一个版本。这些青铜胸像都谥，在原有基础上，但常常恢复未烘烤的泥塑。在其恢复的版本粘土可以在奥赛博物馆在巴黎待观察。

从20世纪50年代初，有些陶土“俑”出现了，他们大多属于GOBIN收藏在巴黎。这是GOBIN谁决定有青铜铸成通过Valsuani在每30一个版本完成。此外，他们死后的，也没有证据，对比上面提到的萧条，这些兵马俑俑真被自己的杜米埃完成。美国学校（J.Wasserman从福克 - 哈佛博物馆）怀疑其真实性，而法国的学校，尤其是GOBIN，勒孔特当然乐Garrec和Cherpin和，都好像参与了铜牌版本的营销，相信他们的杜米埃起源。该杜米埃寄存器（杜米埃研究的国际中心），以及艺术在华盛顿国家美术馆将“通过杜米埃的模仿者”考虑俑为'杜米埃的方式“，甚至（NGA）

不可能有任何关于杜米埃的Ratapoil和他的移民的真实性毋庸置疑。自画像在青铜以及路易十四半身像惊人已经经常辩论的话题在过去的100年中，但一般期限为接受他们由杜米埃原件。

杜米埃创造了许多他自己的雕像，后来变成那名俑描绘的画作。其中杜米埃最知名的雕像有权沉重的行囊，和它拥有一名妇女和她的孩子。塑像约为14英寸高，这是比较小的。女人看起来像她背着的东西，可能是一个大包或手提包大。杜米埃想描绘这个女人为“洗衣妇”或洗衣女工。女人和她的塑像孩子也有很详细的面孔，但他们的身体和衣服的其余部分看起来好像他们都搞砸了，甚至被风吹。奥利弗·W·拉金指出：“一位在红土看到杜米埃的迅速手指的标志，因为他碰一碰裙子变成被风吹起的褶皱和使用刀片或刷柄的末端定义紧握武器和布在皱纹乳房在油，他只能最成功的两个画布曾经被温格亚历山大拥有接近这个小杰作。“

构建雕像后，杜米埃然后重新沉重的行囊多次。然而，而不是通过泥人改造它，他决定要画它。他使用了许多不同的技术来表达，他希望得到传达的信息。杜米埃还画了沉重的行囊中的多种变化，以显示他是多么真切地感受到对手边的主题。女人和她的孩子看起来像他们正在被风推，而杜米埃以此为更大的力量，他们实际上是对抗的一种隐喻。更大的力量杜米埃想表明，他们试图打是革命，政府，和贫穷。画中的女人和她的孩子是由一个非常黑暗的阴影概述。在没有周围绘制明确的线条，和他们没有非常多的细节画。杜米埃使用，以创建一个令人毛骨悚然的场景非常大胆的，暗的颜色，如黑色，褐色和灰色。通过这样做，他让观众感受到一种情感领带对女人和她的孩子，几乎是一个有同情心的方式。

杜米埃使妇女和她的孩子看起来好像他们几乎被他们所运行吓坏了。这是另一个原因，杜米埃，使妇女和她的孩子似乎奋力对抗强大的力量推动他们争战。这表明他正在倡导妇女在劳动力的权利。在法国（大约1865年）这一时期，妇女刚刚开始出现的劳动力。他们只是被允许比起谁总是被允许工作的人工作。相反，与他们的孩子留在家里的，妇女现在有望得到一份工作，如洗衣妇，他们仍然希望把孩子照顾。这就是为什么杜米埃决定将在他的雕塑和绘画的母亲，以显示他如何看待与具有做多个作业一次，以帮助为他们的家庭的妇女问题的孩子。杜米埃是共和党的一员，他希望每个人都有机会拥有平等的权利，包括妇女。^[6]

绘画

除了他在漫画领域巨大的活动-他也画-杜米埃的刻板于1904年人数不下3958编制的名单。除了他的眼光寻找真实，他的笔触强大的直率，这将是难以识别的创建者罗伯特MACAIRE的莱斯巴斯蓝军，莱斯Bohémiens巴黎，和面具，在画基督和他的门徒（国家博物馆在阿姆斯特丹），或在他的好撒玛利亚人，堂吉诃德和桑丘·潘沙，基督嘲笑，甚至在艾奥尼迪斯收藏在南肯辛顿的草图。有一个房间满漫画的博物馆上午Römerholz温特图尔，堂吉诃德和桑丘·潘沙发现作为的一部分2012年纳粹掠夺的发现。

作为一个画家，杜米埃，现实学科的开拓者之一，但随着来看一个非常主观的问题对待，也没有遇见成功，直到1878年，他去世的前一年，当保罗·杜兰德-鲁埃尔收集他的作品展览在他画廊和展示了谁被称为“男人的人才范围米开朗基罗漫画”。在展览的时候，杜米埃是个盲人，住在一间小屋瓦尔蒙杜瓦，其中柯罗交给他处置。正是在那里，他死了。他画了约500幅油画。

English Introduction

Life

Daumier was born in Marseille to Jean-Baptiste Louis Daumier and Cécile Catherine Philippe. His father Jean-Baptiste was a glazier whose literary aspirations led him to move to Paris in 1814, seeking to be published as a poet. In 1816 the young Daumier and his mother followed Jean-Baptiste to Paris. Daumier showed in his youth an irresistible inclination towards the artistic profession, which his father vainly tried to check by placing him first with a huissier, for whom he was employed as an errand boy, and later, with a bookseller. In 1822 he became protégé to Alexandre Lenoir, a friend of Daumier's father who was an artist and archaeologist. The following year Daumier entered the Académie Suisse. He also worked for a lithographer and publisher named Belliard, and made his first attempts at lithography.

Having mastered the techniques of lithography, Daumier began his artistic career by producing plates for music publishers, and illustrations for advertisements. This was followed by anonymous work for publishers, in which he emulated the style of Charlet and displayed considerable enthusiasm for the Napoleonic legend. After the revolution of 1830 he created art which expressed his political beliefs.^[3] Daumier was almost blind by 1873.

Published works

During the reign of Louis Philippe, Charles Philipon launched the comic journal, La Caricature, Daumier joined its staff, which included such powerful artists as Devéria, Raffet and Grandville, and started upon his pictorial campaign of satire, targeting the foibles of the bourgeoisie, the corruption of the law and the incompetence of a blundering government. His caricature of the king as Gargantua led to Daumier's imprisonment for six months at Ste Pelagie in 1832. Soon after, the publication of La Caricature was discontinued, but Philipon provided a new field for Daumier's activity when he founded theLe Charivari.

Daumier produced his social caricatures for Le Charivari, in which he held bourgeois society up to ridicule in the figure of Robert Macaire, hero of a popular melodrama. In another series, L'histoire ancienne, he took aim at the constraining pseudo-classicism of the art of the period. In 1848 Daumier embarked again on his political campaign, still in the service of Le Charivari, which he left in 1863 and rejoined in 1864.

Around the mid-1840s Daumier started publishing his famous caricatures depicting members of the legal profession, known as 'Les Gens de Justice', a scathing satire about judges, defendants, attorneys and corrupt, greedy lawyers in general. A number of extremely rare albums appeared on white paper, covering 39 different legal themes, of which 37 had previously been published in the Charivari. It is said that Daumier's own experience as an employee in a bailiff's office during his youth may have influenced his rather negative attitude towards the legal profession.

In 1834 he produced the lithograph Rue Transnonain, 15 April 1834 depicting the massacre in the rue transnoin which was part of the April 1834 riots in Paris. It was designed for the subscription publication L’Association Mensuelle. The profits were to promote freedom of the press and defrayed legal costs of a lawsuit against the satirical, politically progressive journal Le Charivari to which Daumier contributed regularly. The police discovered the print hanging in the window of printseller Ernest Jean Aubert in the Galerie Véro-Dodat (passageway in 1st arrondissement) and subsequently tracked down and confiscated as many of the prints they could find, along with the original lithographic stone on which the image was drawn. Existing prints of Rue Transnonain are survivors of this effort.

Sculptures

Daumier was not only a prolific lithographer, draftsman and painter, but he also produced a notable number of sculptures in unbaked clay. In order to save these rare specimens from destruction, some of these busts were reproduced first in plaster. Bronze sculptures were posthumously produced from the plaster. The major 20th century foundries were F. Barbedienne Barbedienne, Rudier (fr), Siot-Decauville (fr)and Foundry Valsuani (fr).

Eventually Daumier produced between 36 busts of French members of Parliament in unbaked clay. The foundries involved from 1927 on to produce a bronze edition were Barbedienne in an edition of 25 & 30 casts and Valsuani with three special casts based on the previous plaster castings from the Sagot-Le Garrec clay collection. These bronze busts are all posthumous, based on the original, but frequently restored unbaked clay sculptures. The clay in its restored version can be seen at the Musée d'Orsay in Paris.

From the early 1950s on, some baked clay 'Figurines' appeared, most of them belonging to the Gobin collection in Paris. It was Gobin who decided to have a bronze cast done by Valsuani in an edition of 30 each. Again, they were posthumous and there is no proof, in contrast to the busts mentioned above, that these terra cotta figurines really were done by Daumier himself. The American school (J.Wasserman from the Fogg-Harvard Museum) doubts their authenticity, while the French school, especially Gobin, Lecomte and of course Le Garrec and Cherpin, all somehow involved in the marketing of the bronze editions, are sure of their Daumier origin. The Daumier Register (the international center of Daumier research) as well as the National Gallery of Art in Washington DC would consider the figurines as 'in the manner of Daumier' or even 'by an imitator of Daumier' (NGA)

There can be no doubt about the authenticity of Daumier's Ratapoil and his Emigrants. The self-portrait in bronze as well as the amazing bust of Louis XIV have been frequently debated over the last 100 years, but the general tenor is to accept them as originals by Daumier.

Daumier created many of his own figurines that would later turn into paintings that were portrayals of the figurines. One of Daumier's most well-known figurines was entitled The Heavy Burden, and it featured a woman and her child. The figurine is about 14 inches tall, which is relatively small. The woman looks like she is carrying something, possibly a large bag or large tote. Daumier wanted to portray this woman as a "washerwoman" or laundress. The woman and her child in the figurine also have very detailed faces, but the rest of their bodies and clothes look as if they are messed up, or even blown by the wind. Oliver W. Larkin states that "One sees in the clay the mark of Daumier's swift fingers as he nudged the skirt into windblown folds and used a knife blade or the end of a brush handle to define the clasped arms and the wrinkles of the cloth over the breast. In oil, he could only approximate this small masterpiece most successfully in two canvases were once owned by Arsene Alexandre." ^[5]

After constructing the figurine, Daumier then recreated The Heavy Burden many times. However, instead of remaking it through clay figurines, he decided to paint it. He used many different techniques to convey the message that he wanted to get across. Daumier also painted The Heavy Burden in multiple variations in order to show how he really felt about the subject at hand. The woman and her child look like they are being pushed by the wind, and Daumier used this as a metaphor of the greater forces they were actually fighting against. The greater forces that Daumier wanted to show that they were trying to fight were the Revolution, the government, and poverty. The woman and her child in the painting are outlined by a very dark shadow. The do not have definitive lines drawn around them, and they are not painted in very much detail. Daumier used very bold, dark colors such as black, brown, and gray in order to create an eerie scene. By doing this, he makes the viewer feel an emotional tie towards the woman and her child, almost in a sympathetic way.

Daumier makes the woman and her child look as if they are almost frightened by what they are running from. This is another reason that Daumier makes the woman and her child appear to be struggling to fight against the strong forces pushing against them. It shows that he is advocating for the rights of women in the workforce. During this time period in France (circa 1865), women were just now beginning to appear in the workforce. They were just being allowed to work compared to men who always were allowed to work. Instead of staying home with their children, women were now expected to get a job such as the laundress, and they were still expected to take care of their children. This is why Daumier decided to include the child with the mother in his sculpture and paintings to show how he felt about the problem with women having to do multiple jobs at once to help provide for their families. Daumier was a member of the Republican Party, and he wanted everyone to have the opportunity to have equal rights, including women.^[6]

Paintings

In addition to his prodigious activity in the field of caricature — the list of Daumier's lithographed plates compiled in 1904 numbers no fewer than 3,958 — he also painted. Except for the searching truthfulness of his vision and the powerful directness of his brushwork, it would be difficult to recognize the creator of Robert Macaire, of Les Bas bleus, Les Bohémiens de Paris, and the Masques, in the paintings of Christ and His Apostles (Rijksmuseum in Amsterdam), or in his Good Samaritan, Don Quixote and Sancho Panza, Christ Mocked, or even in the sketches in the Ionides Collection at South Kensington. There is a room-full of caricatures in the museum Am Römerholz in Winterthur. Don Quixote and Sancho Panza was found as part of the 2012 Nazi loot discovery.

As a painter, Daumier, one of the pioneers of realistic subjects, but treated with a very subjective point of view, did not meet with success until 1878, a year before his death, when Paul Durand-Ruelcollected his works for exhibition at his galleries and demonstrated the range of the talent of the man who has been called the "Michelangelo of caricature". At the time of the exhibition, Daumier was blind and living in a cottage at Valmondois, which Corot placed at his disposal. It was there that he died. He painted about 500 oil paintings.

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1、Honoré Daumier