Word: daumiers
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Dates: during 1930-1939
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...sketches, which continue the story in this rather laughable fashion, exhibit strong powers of social satire and characterization. Though Ober-laender lacks much that can be found in Daumier, this small sample of his work is convincing enough to make anyone who sees it want to see more. Humor in art presents difficulties which are not easy to surmount. A ludicrous subject, if not sufficiently restrained by means of proper emphasis upon style and technique will perhaps draw a short but hearty laugh from an onlooker. The same subject performed in a subtle fashion will cause a series of chuckles...
...other artist in this particular field. It is not my intention to establish these men as great artists; they are, however, worth special notice because they are craftsmen who can be placed in a category well above that of the simple illustrator. It is well to remember, too, that Daumier, one of the most powerful figures of nineteenth century art, was a newspaper cartoonist...
...account of myself as the "stolid Philadelphian" in "U. S. Illustrators" . . . was acceptable enough especially when I found my name associated with Daumier and with Forain...
Corot and Daumier (October 1930), including the first loans ever made by the Louvre and Berlin's National Gallery to a U. S. museum...
...such experts as Joseph Herge-sheimer and Donn Byrne got half its atmosphere from Gruger's oldfashioned, deep-browed men and frail but credible ladies. Though limited in range, Gruger's draftsmanship and handling of dark and light masses could be compared with the French Masters Daumier and Forain. He never used a model. The kind of cheap cardboard on which he drew with carbon pencil and lamp black is now known as Gruger board...