- Et toi, qu'est-ce que tu trouves de meilleur au Salon cette année? - La bière.

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dc.contributor Donated by: Benjamin A. and Julia M. Trustman, 1959. en_US
dc.coverage.spatial France -- History -- 1848-1870 en_US
dc.creator Daumier, Honoré, 1808-1879 en_US
dc.date.accessioned 2007-06-08T21:05:14Z
dc.date.available 2007-06-08T21:05:14Z
dc.date.issued 1864 en_US
dc.identifier LD3315 en_US
dc.identifier.uri http://hdl.handle.net/10192/3742
dc.description 2nd state. en_US
dc.description Published in: Le Journal Amusant, June 18, 1864. en_US
dc.description.abstract This lithograph sketch depicts a group of men drinking beer. One man asks the others what they like best about the salon that year, and his companion answers that he likes the beer best. LE PUBLIC A L'EXPOSITION Par DAUMIER. LE PUBLIC À L'EXPOSITION, Croquis par Daumier (The public at the exhibition) is a small series of three prints (gillotages), which appeared in the Journal Amusant in June 1864 (and in 1876 in the Petit Journal pour Rire). Only the very rare first state of the three prints of this series can be considered an original lithograph. The following ones published in the JOURNAL AMUSANT (second state) and LE PETIT JOURNAL POUR RIRE (third state) have all been produced under the process GILLOT GILLOTAGE and unfortunately do not show the same quality of print as the first lithographic ones. DR numbers 3315, 3316, 3317 can be found at the Bibliothèque de l'Ecole des Beaux-Arts in Paris, carrying handwritten titles and captions by Daumier himself. SALON. The SALON, the yearly art exhibitions in Paris, were actually art fairs which attracted approximately 1 million visitors from Paris and the provinces. Hundreds of painters and sculptors exhibited. The Salons were the ideal marketplace for the classical painters as well as the new, modern, avant-garde artists. Having little access to private art galleries, these exhibits were especially for the progressive school of greatest economic importance. The jury played an increasingly important role for the future of an artist. Once an artist was rejected from the Salon by a conservative jury, he had most likely no chance to succeed commercially. Very often, a parallel Salon was organized for those artists whose works were refused at the official exhibition. This was the case in 1855, when Courbet’s pictures were considered too revolutionary to be exhibited at the Salon. As a consequence, Courbet opened his own exhibition outside of the official Salon. Baudelaire made some remarks concerning the Salons: “During our time there are only two artists in Paris who are as able as Delacroix: the caricaturist Daumier and the second one is Ingres. All three of them have one thing in common: they express what they mean to say…..” The SALON was for most artists the only possibility to present their works to a greater public. The Salon of 1834 for example attracted some 30’000 visitors already on the opening day. During the entire period of two months, a total of one million spectators went to the show. On certain days the ticket price was reduced to 20 sous or was even free of charge, attracting a large number of visitors. During the World Fair, which lasted from May 15 to November 15, 1855 thousands of visitors from Paris and abroad as well as from the French provinces visited the Salons. en_US
dc.format.extent 29.5 x 30 cm en_US
dc.format.extent b&w en_US
dc.format.extent 1 lithograph en_US
dc.publisher Paris, 1864 en_US
dc.relation.ispartof Le Public a L'exposition, - croquis par H. Daumier en_US
dc.relation.isreferencedby Delteil. Daumier, 3315 en_US
dc.rights Copyright restrictions may apply. For permission to copy or use this image, contact the Robert D. Farber University Archives and Special Collections Department, Brandeis University Libraries. en_US
dc.subject Salons en_US
dc.subject Men en_US
dc.title - Et toi, qu'est-ce que tu trouves de meilleur au Salon cette année? - La bière. fr
dc.title.alternative - And you, what do you like best at this year's salon? - The beer. en_US
dc.title.alternative Journal Amusant en_US
dc.rights.license The following credit line must be included with each item used: Benjamin A. and Julia M. Trustman Collection of Honoré Daumier Lithographs, Robert D. Farber University Archives & Special Collections Department, Brandeis University. en_US

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