“The clown brings us anarchy, freedom and intuition. It’s a very Russian combination.” Russia’s best-known clown faced down Vladimir Putin over the invasion of Ukraine. Now he's coming to London http://econ.st/1vEiodI
杜米埃 (H. Daumier 1808-79) 作的動人的小丑 (The Clown)，補捉到了波特萊爾散文詩中的某種情感：
Peter Gay: On the other hand, I know no prejudice so widely shared, no stereotype so facilely applied, as the notion that ''bourgeois'' means materialistic, philistine, narrow-minded, tasteless and prudish. Denigration of the class that emerged triumphant from the French Revolution and reigned supreme as ''Victorians'' has been with us since the early 19th century, epitomized in the caricatures of Daumier. Few contradictions reach so deep in our cultural sensibility as this triumphant ignominy.
Ingress" 如果時代錯了的話那怎麼辦呢?"--Jean-Auguste-Dominique Ingres | artist | 1780 - 1867 | The National ...
Baudelaire: 波特萊爾的《惡之華》:題詠 （Epigraphes）
14奧諾雷．杜米埃肖像題詩 Vers Pour Le Portrait de M. Honore Daumier
Gombrich 在Photographer as Artist: Henri Cartier-Bersson 一文中說Honoré Daumier更善於創造類型畫而非寫實
一點點指正: 凱綏．珂勒惠支 這篇的注有一小錯 (281頁 他是Max Liebermann 1947-1935)是著名的畫家) (她 的名 卻不用德文Käthe Kollwitz 凱綏·柯勒惠支/ 寇維茲(Kathe Kollwitz)是本世紀最重要的兩、三個女性畫家之一。
她的創作最接近現在對「女權主義」此術語的真正詮釋。 然而她用的仍是扎根於十九世紀的形式。要 將她跟其他畫家做一比較時，最易讓人聯想到的， 並非同時期的德國畫家格羅斯(George Grosz)或迪克斯(Dix)，而是杜米埃(Honor Daumier) 及米勒(J.F.Millet)。
書名/作者 杜米埃 = Daumier eng / 廖瓊芳著 出版項 臺北市 : 藝術家, 民89(2000) 版本項 初版
|書名/作者||Honoré Daumier / text by Robert Rey ; [translated by Norbert Guterman]|
|出版項||New York : Abrams, 1985|
|總圖2F藝術資料區||N6853.D38 R48z 1985||1583328||可流通|
|主要作者||Delteil, Loys, 1869-1927|
|書名/作者||Honoré Daumier : [oeuvre lithographiae] / Loeys Delteil. --|
|出版項||Paris : Delteil, 1925-1930|
|總圖2F藝術資料區||NE2415.D2 D45 v.1||2427386||可流通|
|主要作者||杜彌爾 (Daumier, Honoré, 1808-1879)|
|Daumier, Honoré 1808-1879|
|書名/作者||ドーミエ諷刺画の世界 / 喜安朗編|
|出版項||東京都 : 岩波, 2002|
|書名/作者||根斯勃羅Gainsborough雷諾爾兹Reynolds羅伊斯達Ruisdael荷加斯Hogarth多米埃Daumier / 蘇茂生著|
|出版項||臺北市 : 光復, 民68|
|總圖2F密集書庫||947.5 4462 v.10||2028386||可流通|
Daumier, Honoré (ônôrā' dōmyā'), 1808-79, French caricaturist, painter, and sculptor. Daumier was the greatest social satirist of his day. Son of a Marseilles glazier, he accompanied his family to Paris in 1816. There he studied under Lenoir and learned lithography. He soon began to contribute cartoons to the weekly Caricature. In 1832 his representation of Louis Philippe as Gargantua caused him six months' imprisonment. Two outstanding lithographs of 1834, Rue Transnonain and Le Ventre législatif [the legislative paunch] testify to his early direct and bitterly ironic approach. After the suppression of Caricature his work appeared in Charivari, where he mercilessly ridiculed the bourgeois society of his day in a highly realistic graphic style. Relished as cartoons in his time, Daumier's lithographs, of which he produced almost 4,000, are now considered masterpieces. He also painted about 200 small canvases of power and dramatic intensity that were stylistically similar to his lithographs. Among these are Christ and His Disciples (Rijks Mus.); Republic (Louvre); Three Lawyers (Phillips Gall., Washington, D.C.); the romantic Don Quixote and The Third-Class Carriage (both: Metropolitan Mus.). Daumier's sculpture includes over 30 small, painted busts. An example of his work in this medium is a statuette in the Walters Art Gallery, Baltimore. In his last years he suffered from increasing blindness. His financial condition was perilous. Corot put at his disposal a cottage in Valmondois, and it was there that Daumier died.
See his Teachers and Students (tr. 1970); catalog raisonné ed. by K. E. Maison (2 vol., 1968); biography by R. Rey (1985); studies by K. E. Maison (1960), O. Larkin (1966), H. P. Vincent (1968), and J. L. Wasserman (1969).