Word: daumier
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...sewing machine, a pallid gnome bent over his stitching; Mine Baseball, in which the figures of the players are dark on a field yellow with late afternoon sunlight against a dark background of mine breakers and hills; Jury, whose procession of fat and lean brainless bourgeois figures directly recalled Daumier's treatments of the same subject; The Liberals, which presents, out on a limb, the Scientist, the Man who Sees Both Sides, the Indecisive Man, the Scholar, the Hysterical Mystic, the Infantile Man, the Man who Waits for the Right Time, while red-bannered masses see the forward...
This week, at the Hudson D. Walker Gallery in Manhattan, critics inspected the work of a young man from Baltimore who seemed to be getting warm. Mervin Jules, 25, does not yet wear the mantle of Daumier (see col. 3), but among his 20 tempera paintings and score of gouaches (opaque water colors) there were several which allowed spectators not only to see poverty but to see into it. Several others showed a spirit and skill at caricature which located Jules below but in line with Rivera, Orozco, Grosz and other effective satirists of social horrors...
...because of the purely tactile pleasure of drawing in crayon on smooth stone. Since its discovery 139 years ago, this youngest of the great printmaking processes has been a valued sideline of many an important European and U. S. painter, the mainstay of at least one indubitable master, Honore Daumier. In spite of having cluttered up the earth with a God's plenty of "chromos,"† it has remained a fine as well as a commercial art. At the Boston Museum of Fine Arts last week 527 of the handsomest prints that have been pulled from stone since...
...pieces from the Dreyfus collection, just bought by Andrew Mellon for his new national museum (TIME, Jan. 11); two Benvenuto Cellinis; David with the Head of Goliath, only known bronze by Luca della Robbia beside his famed doors for the Florence Cathedral; the earliest of six known figures by Daumier of "Ratapoil," his famed caricature of a Bonapartist agitator...
...None of the Old Masters issued prints limited to 100 proofs and signed in pencil. One never finds a Rembrandt etching, or a print by Dürer, Mantegna, Van Dyck, Goya, Turner, Delacroix or Daumier so signed and limited. These masters or their dealers printed impressions as long as people wanted them...