Paper

Student Artwork Guide

The Reader

Name Class Date

Honoré Daumier, The Reader. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Honoré Daumier artsdot.com/en/artists/honore-daumier/
Artist’s dates
1808 – 1879
Original size
34 x 26 cm
Movement
Realism Painting ordinary people and ordinary work exactly as they are, without making them prettier or grander.

In context

The Reader — Honoré Daumier

How big is it?

The original measures 34 × 26 cm (height × width), drawn here beside an adult of average height.

When might this have been painted?

  1. 1800
  2. 1810
  3. 1820
  4. 1830
  5. 1840
  6. 1850
  7. 1860
  8. 1870

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 71 at death.

Shaded: the lifetime of Honoré Daumier (1808–1879) every dated painting, decade by decade

First works: up to 1847 Main working years: 1847–1862 Late works: from 1862

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

This record has no exact year on file — using the artist's lifetime and the work's style, what decade would you guess?

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: artsdot.com/en/art/similar/honore-daumier-the-reader-D3FDU3-en/

Colours

Measured from the image

    Main colour

    Walnut #714229

    Catalogued palette

    • #714229
    • #391519
    • #55211C
    • #99714E

    These colours inside the artist’s whole palette Find other paintings by colour

    Main colour name
    Walnut
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Serene How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Deep_shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Balanced Soft How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Honoré Daumier over the last twelve months — 31 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 42.5%12,100 visits
    2. 2 France 7.4%2,100 visits
    3. 3 Italy 7.0%2,000 visits
    4. 4 United States of America 6.7%1,900 visits
    5. 5 Singapore 6.0%1,700 visits
    6. 6 Germany 5.6%1,600 visits
    7. 7 Brazil 4.6%1,300 visits
    8. 8 Hong Kong 2.8%800 visits
    9. 9 Philippines 2.1%600 visits
    10. 10 Argentina 1.8%500 visits
    11. · 21 other countries 13.5%3,900 visits

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Honoré Daumier

    1. 1 Honoré Daumier Nous voulons Barabbas (Ecce Homo) We want Barabbas (Ecce Homo), 1852 10.7%4,000 visits
    2. 2 The Hauler of a Boat 5.9%2,200 visits
    3. 3 The Republic, 1848 4.0%1,500 visits
    4. 4 The Uprising (L, 1848 2.4%900 visits
    5. 5 The Third-class Carriage, 1860 2.4%900 visits
    6. 6 Three Lawyers, 1857 2.1%800 visits
    7. 7 The Laundress, 1861 2.1%800 visits
    8. 8 Burden, 1850 1.9%700 visits
    9. 9 The Washerwoman, 1863 1.9%700 visits
    10. 10 Deux hommes assis à une table, ou les Fumeurs, huile sur panneau Two men sitting with a table, or the Smokers, oils on panel 1.9%700 visits
    11. 11 The Uprising, 1860 1.9%700 visits
    12. 12 Une cause célèbre, crayon et aquarelle A famous cause, pencil and watercolour 1.9%700 visits
    13. 13 Les Gens de Justice: Vous m, 1845 1.9%700 visits
    14. 14 The Third-class Carriage, 1865 1.6%600 visits
    15. 15 Don Quixote and Sancho Panza, 1866 1.3%500 visits
    16. 16 Scene from a Comedy, 1858 1.3%500 visits
    17. 17 Intermission at the Comédie Française, 1858 1.3%500 visits
    18. 18 Ratapoil, 1850 1.3%500 visits
    19. 19 L'amateur d'estampes, huile sur toile The amateur of prints, oils on fabric 1.3%500 visits
    20. — The Reader this painting 0.0%0 visits

    Together these works take 49.1% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 354 works by this artist, of which 131 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    Artist and museum

    Artist

    Honoré Daumier

    Born in Marseille, France

    A Life Etched in Satire: The World of Honoré Daumier

    Born in Marseille in 1808, Honoré-Victorin Daumier’s journey was one deeply intertwined with the tumultuous currents of 19th-century France. His early life, marked by his father's poetic aspirations and subsequent relocation to Paris in 1814, immersed him in a city brimming with artistic energy. Though initially destined for a legal career, young Daumier’s inclination leaned irrevocably towards art. He apprenticed under Alexandre Lenoir, absorbing classical influences alongside an appreciation for the dramatic chiaroscuro of Rubens, and further honed his skills at the Académie Suisse. This foundational training would prove crucial in shaping his distinctive style—a potent blend of realism and expressive draftsmanship. However, it wasn’t merely artistic technique that defined Daumier; it was a profound sensitivity to the social injustices and political absurdities surrounding him.

    The Sharpened Pen: Caricature and Social Commentary

    Daumier's career truly ignited in the wake of the 1830 Revolution, an event that irrevocably altered the course of French history and simultaneously provided fertile ground for his burgeoning satirical talent. He quickly established himself as a master lithographer, initially contributing anonymously to various publications before gaining prominence through his work with Le Charivari, a fiercely independent comic journal founded by Charles Philipon. It was here that Daumier’s genius truly blossomed. His caricatures weren't simply humorous depictions; they were scathing indictments of the bourgeoisie, the legal system, and the political establishment. He fearlessly lampooned King Louis-Philippe, earning himself a six-month imprisonment in 1832 for a particularly biting caricature. This experience, far from silencing him, only solidified his commitment to exposing hypocrisy and challenging authority through art. His lithographs became visual manifestos, capturing the spirit of dissent and offering a critical commentary on the societal ills of his time. The sheer volume of his output during this period is astonishing—thousands of lithographs that served as both popular entertainment and potent political statements.

    Beyond Caricature: Painting and Sculptural Visions

    While Daumier is most celebrated for his lithography, to confine him solely to the realm of caricature would be a grave disservice. He was also a dedicated painter and sculptor, though recognition for these works came later in life. His paintings, often depicting scenes of everyday Parisian life—the third-class carriage, the laundresses, the lawyers—are imbued with a profound sense of realism and empathy. They are not idealized portrayals but rather unflinching depictions of hardship and struggle. He masterfully employed loose brushwork and dramatic lighting to convey emotion and atmosphere, foreshadowing some of the techniques later embraced by the Impressionists. His sculptural work, largely created in clay (many pieces remaining unbaked during his lifetime), reveals a similar commitment to capturing the human form with honesty and emotional depth. These sculptures, rediscovered after his death, demonstrate a remarkable talent for modeling and an ability to convey psychological complexity through physical gesture.

    A Lasting Legacy: Influence and Historical Significance

    Honoré Daumier’s impact on art history is undeniable. He bridged the gap between Romanticism and Realism, paving the way for future generations of artists who sought to depict the world as it truly was—warts and all. His unflinching social commentary influenced artists like Gustave Courbet and Édouard Manet, while his innovative use of lithography revolutionized printmaking. His work continues to resonate today, reminding us of the power of art to challenge authority, expose injustice, and bear witness to the human condition. The Musée d'Orsay in Paris houses a significant collection of his paintings and sculptures, offering visitors a glimpse into the world he so vividly portrayed. His lithographs are widely accessible through collections like those found on AllPaintingsStore, ensuring that his satirical genius continues to provoke thought and inspire dialogue. Daumier wasn’t merely an artist; he was a chronicler of his time—a visual poet who used his talent to give voice to the voiceless and hold power accountable. His legacy endures as a testament to the enduring relevance of art as a force for social change.

    Where to read more

    Find this online

    QR code linking to the download page for The Reader

    artsdot.com/en/art/download/honore-daumier-the-reader-D3FDU3-en/

    Cite this artwork

    MLA
    Daumier, Honoré. The Reader. n.d., https://artsdot.com/en/art/honore-daumier-the-reader-D3FDU3-en/
    APA
    Daumier, Honoré (n.d.). The Reader [Painting]. https://artsdot.com/en/art/honore-daumier-the-reader-D3FDU3-en/
    Chicago
    Honoré Daumier. The Reader. n.d. https://artsdot.com/en/art/honore-daumier-the-reader-D3FDU3-en/
    Harvard
    Daumier, Honoré (n.d.) The Reader. Available at: https://artsdot.com/en/art/honore-daumier-the-reader-D3FDU3-en/

    Look closely

    The Reader — Honoré Daumier

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. How many faces can you find? ____ (our catalogue counts 1 — do you agree?)
    4. Look back at Honoré Daumier Nous voulons Barabbas (Ecce Homo) We want Barabbas (Ecce Homo) (1852), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Realism: Painting ordinary people and ordinary work exactly as they are, without making them prettier or grander. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    Is "The Reader" by Honoré Daumier in the public domain, and why?

    "The Reader" by Honoré Daumier is in the public domain - its copyright has expired. Copyright duration runs from the artist's death, which occurred in 1879.

    How does "The Reader" balance light and dark?

    "The Reader" by Honoré Daumier is recorded as deep_shadow, with a dark luminance.

    What are the format and size of "The Reader"?

    "The Reader" by Honoré Daumier is proportioned as a portrait work of 34 x 26 cm.