id:			156130
accession number:	1991.59.b
share license status:	CC0
url:			https://clevelandart.org/art/1991.59.b
updated:		2024-03-26 02:00:12.657000

Reclining Woman Leaning on Her Arm (verso), 1855/60. Honoré Daumier (French, 1808–1879). Charcoal?; framing lines in red chalk; sheet: 21.5 x 33.9 cm (8 7/16 x 13 3/8 in.). The Cleveland Museum of Art, The Severance and Greta Millikin Purchase Fund 1991.59.b

title:				Reclining Woman Leaning on Her Arm (verso)
title in original language:	
series:				
series in original language:	
creation date:			1855/60
creation date earliest:		1855
creation date latest:		1860
current location:		
creditline:			The Severance and Greta Millikin Purchase Fund
copyright:			

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culture:	France, 19th century
technique:	charcoal?; framing lines in red chalk
department:	Drawings
collection:	DR - French
type:		Drawing
find spot:	
catalogue raisonne: 

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CREATORS

* Honoré Daumier (French, 1808–1879)  - artist
Honoré Daumier was eight years old when his father, a glazier and frame maker who had decided to pursue his poetic talents in Paris, sent for the wife and three sons he lad left behind in Marseilles. In Paris Daumier studied drawing with Alexandre Lenoir (1761-1839) and at the Académie Suisse. Around 1825 he began a five-year apprenticeship with the publisher and lithographer Zépherin Belliard (1798-?). The July revolution of 1830, which established Louis-Philippe as the constitutional monarch in France, coincided with Daumier's creation of satirical lithographs aimed at this new government. That same year he joined La Caricature, a political journal founded by the republican artist-publisher, Charles Philipon (1802-1862). Daumier's antimonarchist and liberal subjects that were printed in this paper eventually cost the journal censorship and the artist six months in jail (31 August 1832 to 14 February 1833) plus a 300-franc fine. His prison sentence did not deter him from producing political statements and, in fact, only fueled his rage. The subjects of his lithographs became much more aggressive. In 1835 he worked for Philipon's second publication, Le Charivari, a humorous political newspaper that published Daumier's satirical caricature until it, too, suffered censorship under the new government. Although Daumier may be best known for his graphic art, he was also a sculptor and a prolific painter. Sculpture became another medium to produce his infamous caricatures. His friend, Honoré de Balzac, French novelist and editor of La Caricature, saw in these works the force of Michelangelo. In 1834 Daumier began experimenting with painting, both in oil and watercolor. Apart from his Salon entries of 1849 and 1850, his paintings, which totaled over three hundred, were painted primarily for his own pleasure and virtually unknown to the public until after his death in 1879.
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measurements: Sheet: 21.5 x 33.9 cm (8 7/16 x 13 3/8 in.)
state of the work:	
edition of the work: 	

support materials:

	description:	cream(3) wove paper
	watermarks:	

inscriptions:

	inscription:	lower left, in graphite: 38 Daumier [sideways]
	translation:	
	remark:		

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CURRENT EXHIBITIONS

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LEGACY EXHIBITIONS

* {'description': 'For recto:', 'opening_date': None}

* {'description': 'CMA, French Drawings from the Collection (Dec. 13, 1994-Mar. 12, 1995).', 'opening_date': '1994-12-13T00:00:00'}

* {'description': 'Frankfurt, Städelsches Kunstinstitut und Statische Galerie; New York, Metropolitan Museum of Art, Honoré Daumier: Drawings (Nov. 17, 1992-Jan. 17, 1993; Feb. 26-May 2, 1993), no. 117, illus.', 'opening_date': '1993-02-26T00:00:00'}

* {'description': 'CMA, Selected 1991 Acquisitions (Jan. 28-Apr. 26, 1992), cma Bulletin 79 (1992), illus. p. 72.', 'opening_date': '1992-01-28T00:00:00'}

* {'description': 'London, Tate Gallery, Daumier Paintings and Drawings (1961), no. 144.', 'opening_date': '1961-01-01T00:00:00'}

* {'description': 'London, Burlington Fine Arts Club, Drawings and Sculpture of the French School of the Last 100 Years (1922), no. 56.', 'opening_date': '1922-01-01T00:00:00'}

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PROVENANCE

	Lousada (not stamped, not in Lugt) (according to Maison 1968, p. 115, no. 340). Croal Thompson, Barbizon House (not stamped, not in Lugt) (according to Maison 1968, p. 115, no. 340). T.O. Falk (not stamped, not in Lugt) (according to Maison 1968, p. 115, no. 340). Private Collection, Oxford (according to Maison 1968, p. 115, no. 340). [Hobart and Maclean]
	date: 
	footnotes: 	
	citations: 	


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wall description:

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RELATED WORKS

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CITATIONS

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IMAGES

web:	https://openaccess-cdn.clevelandart.org/1991.59.b/1991.59.b_web.jpg
print:	https://openaccess-cdn.clevelandart.org/1991.59.b/1991.59.b_print.jpg
full:	https://openaccess-cdn.clevelandart.org/1991.59.b/1991.59.b_full.tif