His Most Famous Lithograph - Rue Transnonain - Honore Daumier
Famous painter, print maker, sculptor, and caricaturist Honore Daumier (February 26, 1808 - February 10, 1879) was known for his politically charged body of works in the form of lithographs.
His satirical undertones often drew the ire of the French State and led even to his spells in the prison, on various counts.
Daumier was born a Baptist in Marseille, France.
His personal displeasure with the contemporary political structure reflected distinctly in his creations, and caused widespread stir.
However, Daumier was very prolific in the terms of the treatment and the representation of his subjects.
His originality and the choice of subjects won him as much appreciation, as criticism.
His masterwork "Rue Transnonain" is one of the most powerful political artworks of all times.
The original lithograph of "Rue Transnonain" was created by Honore, in the year 1834, set in a colossal frame, sized 33.
9 cm X 46.
5 cm.
The genocide of April 14, 1834 by the French National Guard inspired this disturbing piece.
This incident took place in the regime of King Louis Philippe, when the silk weavers began resisting the unsustainable working conditions and the passage of some anti-worker laws, preventing trade unions, among other provisions.
No sooner did a bullet from a sniper claimed a police officer's life, the Guards retaliated with the massacre of several people, including women and infants.
"Rue Transnonain" portrays the scene at a weaver's house after the massacre.
The shocking picture shows the dead bodies of the poor weaver's family, lying on the floor, in a pool of blood.
The most prominent central figure is that of the dead weaver, partially supported by the bed behind.
His head is slightly titled to his right and his limbs left loose on the ground.
The expressions on his face testify his painful demise.
The most gruesome aspect of "Rue Transnonain" is the bleeding dead body of the weaver's infant, buried under her father, indicating that the baby was shot first.
On the left side of frame, there is a figure of a deceased old man, perhaps the worker's father, with slightly open mouth, visible until its shoulders.
The slain wife of the worker occupies the right corner of the frame.
The image of "Rue Transnonain" captures only her lower part.
Her invisible upper torso is directed away from the viewer.
The overturned chair near the weaver's left shoulder and the nightdresses of the figures tend to replay the last minute panic at the house.
Light plays a significant role in this piece, with diagonal half of the frame well lit by, what appears to be, an open door.
The woman's body and rest of the house are shrouded in murkiness.
Predictably, the Monarchy expressed its unhappiness over the execution of "Rue Tansnonain" by Honore Daumier, and seized all the commercially available prints.
The authorities confiscated the original lithographic stone as well, to prevent the recreation of this work.
However, some prints were folded and were successfully hidden away from the authorities.
Despite repression, "Rue Transnonain" was capable of making inroads in the contemporary art scene and incited mass reactions against the executors of the massacre, making it one of the most influential allegories in the history.
His satirical undertones often drew the ire of the French State and led even to his spells in the prison, on various counts.
Daumier was born a Baptist in Marseille, France.
His personal displeasure with the contemporary political structure reflected distinctly in his creations, and caused widespread stir.
However, Daumier was very prolific in the terms of the treatment and the representation of his subjects.
His originality and the choice of subjects won him as much appreciation, as criticism.
His masterwork "Rue Transnonain" is one of the most powerful political artworks of all times.
The original lithograph of "Rue Transnonain" was created by Honore, in the year 1834, set in a colossal frame, sized 33.
9 cm X 46.
5 cm.
The genocide of April 14, 1834 by the French National Guard inspired this disturbing piece.
This incident took place in the regime of King Louis Philippe, when the silk weavers began resisting the unsustainable working conditions and the passage of some anti-worker laws, preventing trade unions, among other provisions.
No sooner did a bullet from a sniper claimed a police officer's life, the Guards retaliated with the massacre of several people, including women and infants.
"Rue Transnonain" portrays the scene at a weaver's house after the massacre.
The shocking picture shows the dead bodies of the poor weaver's family, lying on the floor, in a pool of blood.
The most prominent central figure is that of the dead weaver, partially supported by the bed behind.
His head is slightly titled to his right and his limbs left loose on the ground.
The expressions on his face testify his painful demise.
The most gruesome aspect of "Rue Transnonain" is the bleeding dead body of the weaver's infant, buried under her father, indicating that the baby was shot first.
On the left side of frame, there is a figure of a deceased old man, perhaps the worker's father, with slightly open mouth, visible until its shoulders.
The slain wife of the worker occupies the right corner of the frame.
The image of "Rue Transnonain" captures only her lower part.
Her invisible upper torso is directed away from the viewer.
The overturned chair near the weaver's left shoulder and the nightdresses of the figures tend to replay the last minute panic at the house.
Light plays a significant role in this piece, with diagonal half of the frame well lit by, what appears to be, an open door.
The woman's body and rest of the house are shrouded in murkiness.
Predictably, the Monarchy expressed its unhappiness over the execution of "Rue Tansnonain" by Honore Daumier, and seized all the commercially available prints.
The authorities confiscated the original lithographic stone as well, to prevent the recreation of this work.
However, some prints were folded and were successfully hidden away from the authorities.
Despite repression, "Rue Transnonain" was capable of making inroads in the contemporary art scene and incited mass reactions against the executors of the massacre, making it one of the most influential allegories in the history.