Relevant bibliographies by topics / Honoré Daumier

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Honoré Daumier'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "Honoré Daumier"

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Vinchon, M. "Honoré Daumier and child abuse." Child's Nervous System 22, no. 7 (June 2, 2006): 635. http://dx.doi.org/10.1007/s00381-006-0109-4.

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Fabris, Marcos. "A guerrilha semântica de Honoré Daumier." Revista Crítica Cultural 9, no. 1 (August 12, 2014): 97. http://dx.doi.org/10.19177/rcc.v9e1201497-104.

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Este artigo pretende discutir as relações entre caricatura e outras áreas da produção cultural no âmbito da obra do pintor, escultor, desenhista e caricaturista francês Honoré Daumier. Almeja-se também tecer paralelos entre sua produção artística e o seu momento histórico, a Paris capital do século XIX, contestando as noções pré-estabelecidas de “caricatura política” e “caricatura social/de costumes”, consolidada pela bibliografia mais influente.
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Grevers, Antonella. "Die entlarvenden Karikaturen des Honoré Daumier." HNO Nachrichten 49, no. 5 (October 2019): 65–66. http://dx.doi.org/10.1007/s00060-019-5977-9.

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Angotti-Salgueiro, Heliana. "A comédia urbana: de Robert Macaire à Lanterna Mágica. Representações e práticas comparáveis na imprensa ilustrada no século XIX - entre o romantismo e o realismo." Teresa, no. 12-13 (December 23, 2013): 174. http://dx.doi.org/10.11606/issn.2447-8997.teresa.2013.99349.

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Estudo comparativo entre a série de caricaturas de Honoré Daumier, “Les Robert Macaire”, e as do folhetim A Lanterna Mágica, atribuídas a Manuel de A. Porto-Alegre. A apropriação evidencia-se na forma e no sentido da crítica dos costumes, da política, da corrupção e das situações cotidianas, temas atemporais, de significativa atualidade.
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Kim, Ji-hyun. "A Study on Honoré Daumier"s Political Caricature - Focused on Gargantua." Journal of the Association of Western Art History 43 (August 31, 2015): 7. http://dx.doi.org/10.16901/jawah.2015.08.43.7.

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Balius i Juli, R. "Cuando el deporte se hace arte. Honoré Daumier, genio de la caricatura." Apunts. Medicina de l'Esport 41, no. 150 (January 2006): 78–82. http://dx.doi.org/10.1016/s1886-6581(06)70014-7.

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Haskins, Katherine. "HONORÉ DAUMIER: A THEMATIC GUIDE TO THE OEUVRE. Louis Provost , Elizabeth C. Childs." Art Documentation: Journal of the Art Libraries Society of North America 9, no. 4 (December 1990): 205–6. http://dx.doi.org/10.1086/adx.9.4.27948281.

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Duncan-O’Neill, Erin. "Painting Molière as an act of rebellion: Honoré Daumier, censored speech, and revivals of theatrical satire." Word & Image 37, no. 2 (April 3, 2021): 206–19. http://dx.doi.org/10.1080/02666286.2020.1866992.

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Smieska, Louisa M., John Twilley, Arthur R. Woll, Mary Schafer, and Aimee Marcereau DeGalan. "Energy-optimized synchrotron XRF mapping of an obscured painting beneath Exit from the Theater, attributed to Honoré Daumier." Microchemical Journal 146 (May 2019): 679–91. http://dx.doi.org/10.1016/j.microc.2019.01.058.

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Pouyet, Emeline, Monica Ganio, Aisha Motlani, Abhinav Saboo, Francesca Casadio, and Marc Walton. "Casting Light on 20th-Century Parisian Artistic Bronze: Insights from Compositional Studies of Sculptures Using Hand-Held X-ray Fluorescence Spectroscopy." Heritage 2, no. 1 (February 21, 2019): 732–48. http://dx.doi.org/10.3390/heritage2010047.

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In the 19th and early 20th centuries, Paris was home to scores of bronze foundries making it the primary European center for the production of artistic bronzes, or bronzes d’art. These foundries were competitive, employing different casting methods—either lost-wax or sand casting—as well as closely guarded alloy and patina recipes. Recent studies have demonstrated that accurate measurements of the metal composition of these casts can provide art historians of early 20th-century bronze sculpture with a richer understanding of an object’s biography, and help answer questions about provenance and authenticity. In this paper, data from 171 20th-century bronzes from Parisian foundries are presented revealing diachronic aspects of foundry production, such as varying compositional ranges for sand casting and lost-wax casting. This new detailed knowledge of alloy composition is most illuminating when the interpretation of the data focuses on casts by a single artist and is embedded within a specific historical context. As a case study, compositional analyses were undertaken on a group of 20th-century posthumous bronze casts of painted, unbaked clay caricature portrait busts by Honoré-Victorin Daumier (1808–1879).
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Dissertations / Theses on the topic "Honoré Daumier"

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Leblanc, Lorraine M. "Les deux Honoré, Balzac et Daumier." Thesis, University of Ottawa (Canada), 2003. http://hdl.handle.net/10393/29027.

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Le XIXe siècle, en France, a donné le jour à la Modernité dans les Arts. Ce qui a débuté comme un courant esthétique, s'est doté d'une sensibilité au présent et au changement. Il fallait "être de son temps" et les deux Honoré ont repondu à l'appel. Le but de cette thèse est d'établir des rapprochements entre Balzac l'écrivain et Daumier l'artiste qui indépendamment l'un de l'autre, ont sû utiliser cette maxime dans la création d'une "comédie humaine". Tout en reconnaissant qu'à certains moments, la littérature où la peinture à influence l'autre ou parfois s'est faite la complice de sa rivale, nous nous sommes néanmoins soumise à des procédés d'équivalence nécessaires au rapprochement d'arts interdisciplinaires. Nous avons également assemblé certains critères qui, pour nous, définissent une "caricature", qu'elle soit picturale ou scripturale. Les deux Honoré ont été tous deux, de grands caricaturistes. Nous pourrions apporter plusieurs théories pour expliquer le rapprochement entre les descriptions que chacun des Honoré donne de ses personnages dont la physionomie ou la démarche révèle ce qui se cache dans leur for intérieur. Notre étude nous a révèle qu'à l'arrière plan des images de Balzac et de Daumier, se dessine l'ombre de ces sciences à la mode, la Phrénologie et la Physiognomonie. Les deux Honoré en ont observé les codes pour esquisser leurs personnages. Nous avons monté un catalogue contenant des reproductions de lithographies de gravures et de peintures de Daumier qui ont servi au rapprochement des deux artistes. Ce volume accompagne notre thèse. Les illustrations viennent démontrer que la plupart des ressemblances entre les deux oeuvres se trouvent dans les types ou stéréotypes de la contemporanéité que les deux artistes ont réussi a étoffer pour en faire des représentants vraisemblables des tendances, des modes, des thèmes et des vices de leur siècle.
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Van, Troys Séverine. "L'inspiration littéraire dans l'œuvre d'Honoré Daumier (1808-1879)." Lille 3, 2000. http://www.theses.fr/2000LIL30020.

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Des sources anciennes jusqu'aux littérateurs du XVIIème siècle et du XIXème siècle, Daumier interpréta le caractère visionnaire des écrits pour concevoir des tableaux puissants et originaux. Il transposa librement le vocables et les idées livresques tout en respectant les notions essentielles des écrits, le plaisir ressenti pendant la lecture ou les représentations théâtrales. Daumier renouvela l'approche des thèmes récurrents dans les Beaux-Arts tels que la mythologie ou la religion. Il refusa de se conformer à l'enseignement académique, aux canons esthétiques en vigueur au profit de tableaux plus explicites et plus pragmatiques. Sa liberté créatrice lui offrit la possibilité d'aborder des sujets inspirés par La Fontaine, Molière et Cervantès. Elle révéla une compréhension et une symbiose intellectuelle avec ces trois auteurs du XVIIème siècle, à la forte personnalité, qui formulaient des critiques acerbes sur la société. Daumier fût également l'ami de nombreux artistes et écrivains tels que Baudelaire, Balzac, Hugo. Il s'engagea à leurs côtés dans les luttes en faveur de la modernité et de la liberté. Il réalisa des transcriptions picturales influencées par leurs idées et par leurs textes tandis que de jeunes talents (Flaubert, Maupassant, Daudet) puisaient dans le glossaire visuel créé par Daumier. La complexité des liens existant entre ces créateurs, l'artiste et ses représentations ne peut se limiter à une approche réductrice et simplificatrice de l'inspiration littéraire dans l'œuvre de Daumier
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Rosa, Pollyana Ferreira. "A comédia satânica de Honoré Daumier: a caricatura política na aurora da comunicação de massas." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-22092015-111638/.

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Destacaremos nessa pesquisa alguns aspectos da obra de Honoré Daumier na França no período da Monarquia de Julho (1830-1848) e da Segunda República (1848-1851). Mais especificamente: como o artista analisou e representou o período de 1830-35 e seus principais personagens e acontecimentos, momento de luta política aberta graças à liberdade de imprensa e caricatura; aspectos da \"estética antiburguesa\" de Daumier diante da forte censura, de 1835 a 1848, nos casos do personagem Robert Macaire e de cenas de contraposição trabalhador x burguês; e, o personagem Ratapoil, alegoria da ideologia bonapartista, durante o curto espaço da República, 1848-1851. Dado que esse período é marcado pelo processo de formação da consciência de classe dos trabalhadores franceses, bem como pela difusão da litografia como meio de reprodução imagens - a partir de então aptas a comentar o cotidiano como a imprensa escrita -, sugerimos que a caricatura, cuja função seria mostrar \"o outro lado\" do que retrata, tenha se tornado uma das armas políticas em condições de influenciar não apenas os debates, mas a mobilização política. Pois, durante tal processo, Daumier não apenas tomou parte ao lado dos movimentos trabalhadores e republicanos de maneira coerente. Mais que isso, desenvolveu uma estética caricatural realista ao extremo - sem fundar-se na representação mimética. Uma caricatura realista no sentido de calcada nos acontecimentos históricos e na introdução, nas imagens, de elementos reais que remetem a tais fatos ou personagens recentes, e apresenta-se em imagens alegóricas de fácil leitura. Tal desenvolvimento da caricatura ter-se-ia dado no intuito de comunicar ideias e análises políticas de modo claro e preciso e, assim, tentar inverter as versões e discursos \"oficiais\", ou ainda, \"contra-comunicar\".
This dissertation highlights aspect of the work of Honoré Daumier in France during the July Monarchy (1830-1848) and the Second Republic (1848-1851). Particular emphasis was placed on: how the artist analyzed and represented the period from 1830 to 1835, the main characters and events of these years, a time of open political struggle thanks to freedom of press and thanks to the use of caricature; aspects of the \"anti-bourgeois aesthetic\" of Daumier and its strong opposition to censorship from 1835 to 1848, with the character Robert Macaire and scenes of conflict between the bourgeoisie and the proletariat; and aspects of the character Ratapoil, an allegory of the Bonapartist ideology, during the short period of the Republic, 1848-1851. Considering the fact that this period is marked by the formation of class consciousness of the French workers as well as by the spread of lithography as a means of image reproduction -- henceforth fit to comment on daily life as the written press was - it is suggested that caricature, which has the function of showing \"the other side\" of what it portrays, became one of the political weapons able to influence not only the political debates, but the political mobilizations. That is so because during such process Daumier not only took part alongside the workers movement and the Republicans, but he also developed a extremely realistic cartoon aesthetic -- not based in mimetic representational forms. His caricature was realistic in the sense that it was grounded in historical events and the use of real elements that made reference to events or characters of the time, and is presented in allegorical pictures of easy reading. This could be the result of the artist\'s intention to communicate ideas and political analyzes in a clear and precise manner, and thus invert \"official\" discourses and versions, or even \"counter-communicate\".
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Ackerman, Ada. "Regards de Sergueï Eisenstein sur l’oeuvre d’Honoré Daumier : une réception méconnue." Thesis, Paris 10, 2010. http://www.theses.fr/2010PA100203.

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Cette thèse se donne pour ambition d'éclairer un aspect méconnu de l'oeuvre et de la pensée de Sergueï Eisenstein, en se concentrant sur la relation privilégiée qu'il entretient durant toute sa vie avec l'art de Daumier. Tout en traversant l'oeuvre graphique, théâtrale, cinématographique et théorique d'Eisenstein, cette recherche entend également révéler Daumier sous un nouveau jour, en faisant découvrir la réception dont il jouit en Russie et en U.R.S.S. Il s'agira par la même occasion d'exposer et d'interroger le regard stimulant et original qu'Eisenstein porte sur l'art de Daumier. Ce parcours se voudra nécessairement transdisciplinaire
The aim of this PhD thesis is to cast a new light on Eisenstein's work and thought, by focusing on his privileged relationship with Daumier's art. As we will come across Eisenstein's graphic, theatrical, cinematographical and theoretical work, we will unveil Daumier's still unknown reception in Russia and in U.S.S.R. By the same token, we will expose and discuss Eisenstein's challenging and modern vision of Daumier. The methodology chosen here is necessarily transciplinar
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Konstantelos, E. "Representing victimhood : an exploration of strategies for representing victimhood and inflicted terror in the works of Jacques Callot (c.1592-1635), Francisco José de Goya y Lucientes (1746-1828) and Honoré Daumier (1808-1879)." Thesis, University of Salford, 2013. http://usir.salford.ac.uk/29422/.

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The present research deals mainly with the terror inflicted by the military and with the fact and concept of victimhood, as presented by the artists Jacques Callot (c. 1592 - 1635) (in the Large Miseries and Misfortunes of War, 1633, for example), Francisco José de Goya y Lucientes (1746 -1828) (in his series of etchings The Disasters of War), and Honoré Daumier (1808-1879) (in his work dealing with the nineteenth-century sociopolitical revolutions and wars such as the Crimean war 1853-1856 and the Franco-Prussian war 1870-1871). These artists recorded and commented upon issues of human rights embedded in the events of their time. They explored visually the multifaceted relationship between victim and victimiser within specific historical contexts. Callot represented victimhood and militaristic terror as an objective truth both thematically and stylistically. Goya on the other hand reached into the gritty realities of war and inflicted terror, imaginary or real, and commented on the consequent violence and distortions of identity that victim and victimiser endure. Daumier spares his viewers the violence and brutality of war and depicts instead its residual effects and consequences on the victims, in a way that somehow invites the viewer to share responsibility. The present thesis explores the way each artist comments on history, gives propaganda a value, and, thus, how they influenced the public opinion. It endeavours to establish the way these artists organized, explained, and presented their understanding of depicted events to the viewer. Certainly, the aforementioned artists have inspired the visual strategies of later image-makers and of war reportage.
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Wohlgemuth, Anette. "Honoré Daumier : Kunst im Spiegel der Karikatur von 1830 bis 1870 /." Frankfurt am Main : P. Lang, 1996. http://catalogue.bnf.fr/ark:/12148/cb369619492.

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Ragazzi, Alexandre. "Daumier escultor : correspondencias com a pintura e a obra grafica." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279779.

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Orientador : Luciano Migliaccio
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Esta pesquisa se dedica ao estudo das relações existentes entre a produção gráfica, a pintura e a escultura de Honoré Daumier (1808-1879). Uma das faces do processo criativo desse artista, aparentemente fundamentada em métodos tradicionais que se valem de modelos artificiais, desenvolve, na verdade, uma nova concepção da forma plástica. Assim, sua escultura é, a um só tempo, autônoma, precursora e complemento de sua obra gráfica e pictórica.
Abstract: This research is devoted to the study of the relations between the graphic work, the painting and the sculpture of Honoré Daumier (1808-1879). One of the aspects of his creative process, apparently substantiated on traditional methods that use artificial models, develops, in fact, a new conception of the plastic form. Therefore his sculpture is, at the same time, autonomous, precursor and complement of his graphic and pictorial work.
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Cavalcanti, Jardel Dias. "Obras de Honore Daumier e Gustave Coubert pertencentes ao acervo ao do MASP." [s.n.], 1998. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280836.

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Orientador: Jorge Sidney Coly Junior
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-09-11T20:54:06Z (GMT). No. of bitstreams: 1 Cavalcanti_JardelDias_M.pdf: 19951274 bytes, checksum: 166cb66d58afc7401ec25002937a4b86 (MD5) Previous issue date: 1998
Resumo: Não informado.
Abstract: Not informed.
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Mestre em História
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Menon, Elizabeth Kolbinger. "The cultural history of Mr. Mayeux in Nineteenth-Century French art and literature /." [Minneapolis] : University of Minnesota, 1994. http://catalogue.bnf.fr/ark:/12148/cb358179344.

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Stephens, Russell James. "Slanging the emperor : Honoré Daumier’s Le Monde illustré caricatures of the 1867 Exposition Universelle." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/43378.

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Books on the topic "Honoré Daumier"

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Daumier, Honoré. Honoré Daumier, IV. [S.l.]: [s.n.], 2005.

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Honoré Daumier: La risa republicana. Madrid: Abada Editores, 2014.

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Ontario, Art Gallery of. Honoré Daumier, 1808-1879: The Armand Hammer Daumier Collection. Toronto: The Gallery, 1985.

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Daumier, Honoré. Honoré Daumier: Du rire aux armes. Saint-Denis: Musée d'art et d'histoire, 2008.

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Sylvie, Gonzalez, Goux Laurence, Lobstein Dominique, and Saint-Denis (France). Musée municipal d'art et d'histoire., eds. Honoré Daumier: Du rire aux armes. Saint-Denis: Musée d'art et d'histoire, 2008.

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Daumier, Honoré. Honoré Daumier: Du rire aux armes. Saint-Denis: Musée d'art et d'histoire, 2008.

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1965-, Müller Markus, and Graphikmuseum Pablo Picasso Münster, eds. Honoré Daumier: Paris, der Schein vom Sein. Bönen: Kettler, 2009.

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Cabanne, Pierre. Honoré Daumier: Témoin de la comédie humaine. Paris: Amateur, 1999.

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Daumier, Honoré. Honoré Daumier: Il pittore della vita moderna. Milano: Mazzotta, 1996.

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Daumier, Honoré. Honoré Daumier: Paris, der Schein vom Sein. Bönen: Kettler, 2009.

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Book chapters on the topic "Honoré Daumier"

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Rose, Louis. "The Vienna–London Connection, 1932–36." In Psychology, Art, and Antifascism. Yale University Press, 2016. http://dx.doi.org/10.12987/yale/9780300221473.003.0003.

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This chapter examines how Kris organized the Daumier exhibition from the spring of 1935 to the autumn of 1936—the period coinciding with the inception and rise of the Popular Front movement in France. Through Honoré Daumier, he and Gombrich moved beyond the psychology and theory of caricature to engage directly with its history. In the world of European galleries, the exhibition was unique: in continental Europe, Daumier's art appeared in no other place outside France during the 1930s. By displaying Daumier's work in Vienna at that moment, Kris and Gombrich attached their scholarly researches to the antifascist cause. The space for examining Daumier's artwork would allow the public to view a culture of republicanism and internationalism that was disappearing in Austria but that still survived beyond its borders.
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Albrecht, Juerg, and Role Zbinden. "Honoré Daumier, « Rue Transnonain, le 15 avril 1834 »." In La Caricature entre République et censure, 124–35. Presses universitaires de Lyon, 1996. http://dx.doi.org/10.4000/books.pul.7898.

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"Attributed to Honoré Daumier, Exit from the Theater, after 1863." In French Paintings and Pastels, 1600-1945: The Collections of the Nelson-Atkins Museum of Art. The Nelson-Atkins Museum of Art, 2021. http://dx.doi.org/10.37764/78973.5.512.

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Marcereau DeGalan, Aimee. "Attributed to Honoré Daumier, Exit from the Theater, after 1863." In French Paintings and Pastels, 1600-1945: The Collections of the Nelson-Atkins Museum of Art. The Nelson-Atkins Museum of Art, 2021. http://dx.doi.org/10.37764/78973.5.512.5407.

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Schafer, Mary, and John Twilley. "Attributed to Honoré Daumier, Exit from the Theater, after 1863." In French Paintings and Pastels, 1600-1945: The Collections of the Nelson-Atkins Museum of Art. The Nelson-Atkins Museum of Art, 2021. http://dx.doi.org/10.37764/78973.5.512.2088.

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Hampton Cullen, Danielle. "Attributed to Honoré Daumier, Exit from the Theater, after 1863." In French Paintings and Pastels, 1600-1945: The Collections of the Nelson-Atkins Museum of Art. The Nelson-Atkins Museum of Art, 2021. http://dx.doi.org/10.37764/78973.5.512.4033.

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