Podcasts about daumier

durée : 00:56:14 - Autant en emporte l'Histoire - par : Stéphanie Duncan - 1831. Honoré Daumier réalise une caricature féroce et drôlissime du roi Louis-Philippe qui lui vaudra 6 mois de prison ferme et cinq cents francs d'amende. Mais ceux qui croient le faire taire se trompent : ce séjour à la prison de Sainte-Pélagie ne fera que renforcer ses convictions républicaines. - invités : Laurent Bihl - Laurent Bihl : Historien, maître de conférences en histoire contemporaine à l'université Paris 1 Panthéon-Sorbonne - réalisé par : Anne WEINFELD

Wer so porträtiert wird, hat nichts mehr zu lachen. Honoré Daumier stellte 32 Grimassen aus Ton dar, die an Bösewichte aus Comics erinnern. Bei den komischen Fratzen handelt es sich jedoch um die politische Elite Frankreichs. Weshalb deren adelige Besetzung den Bürger*innen ein Dorn im Auge war und wieso Daumier für seine kritische Kunst sogar im Gefängnis landete, erzählt Kunstcomedian Jakob Schwerdtfeger in diesem Kunstsnack.

1/2: #FRANCE:  Hunting season and the price of everything. Simon Constable, Occitanie. 1879 Daumier

2/2: ##SCIENCE: The loss of trust in science research. Henry Miller, HenryMilllerMD.org https://geneticliteracyproject.org/2024/01/29/part-i-viewpoint-why-is-trust-in-scientific-research-at-an-all-time-low/. 1879 Daumier

This week: masters week in New York—can the market for historic works be revived? Scott Reyburn, a market reporter for The Art Newspaper, has for some time been exploring the decline in the trade for Old Master paintings. He looks ahead to the auctions in Masters Week in New York, which begin this weekend. In India on Monday, the prime minister Narendra Modi inaugurated a vast temple to the Hindu god Ram in the city of Ayodhya. The temple replaces a 16th-Century mosque that was destroyed by Hindu mobs in 1992, an event that provoked riots in which nearly 2,000 people died, most of them Muslim people. Our deputy art market editor and regular correspondent in India, Kabir Jhala, is in Mumbai, and joins us to discuss this pivotal issue in modern Indian history, what it means ahead of India's general election in the spring, and whether it is affecting the Indian art market. And this episode's Work of the Week is Madame déménage (1867), a political cartoon by the French artist Honoré Daumier that was deemed so provocative in its time that it was not published. The lithograph is part of an exhibition at the Städel Museum in Frankfurt that features 120 Daumier works from the Hellwig Collection. Hans-Jürgen Hellwig, the who is donating the collection to the Städel, joins us to discuss this incendiary image.Honoré Daumier: The Hellwig Collection, Städel Museum, Frankfurt, Germany, until 12 May.Offer: to get The Art Newspaper's magazine The Year Ahead 2024, an authoritative guide to the world's must-see art exhibitions and museum openings, get a print and digital subscription to The Art Newspaper at theartnewspaper.com before 15 February. Your copy of The Year Ahead will arrive with your next printed issue. You can buy the magazine on its own on the website for just £9.99 or $13.69. Hosted on Acast. See acast.com/privacy for more information.

Daumier ist vor allem als scharfzüngiger Karikaturist und brillanter Lithograf in Erinnerung geblieben. Doch: „Daumier ist zuallererst ein politischer Künstler“, sagt Astrid Reuter vom Frankfurter Städel Museum. Und als solchen zeigt ihn dort nun auch eine neue Ausstellung.

durée : 00:59:06 - Entendez-vous l'éco ? - par : Tiphaine de Rocquigny - Au XIXème siècle, dans la France de Louis-Philippe, une classe bourgeoise s'enrichit sous la houlette du pouvoir royal. Cette société inégalitaire est au cœur de l'œuvre d'Honoré Daumier, caricaturiste porté par le développement de la presse satirique. - invités : Ségolène Le Men Professeur d'histoire de l'art contemporain à l'Université de Paris 10-Nanterre.; Laurent Bihl Historien des médias à l'Université Paris 1 - Panthéon Sorbonne

Un día como hoy, 11 de febrero. Nace: 1869: Else Lasker-Schüler, poeta y escritora alemana. 1878: Kazimir Malevich, pintor ruso. 1909: Joseph L. Mankiewicz, cineasta estadounidense. Fallece: 1650: René Descartes, filósofo y matemático francés. 1879: Honoré Daumier, pintor y caricaturista francés. 1948: Serguéi Eisenstein, director ruso de teatro y cine. 1963: Sylvia Plath, poetisa y novelista estadounidense. Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast. 2023

El primer registro de un puño como símbolo de rebelión lo pintó Daumier en París, en 1948. Desde entonces, el puño en se consolidó como saludo antinazi en Alemania, y republicano en España. Desde entonces, el puño fue adoptado por el black power, las feministas, el mayo francés y hasta las huestes de Patricio Rey, con el famoso dibujo de Rocambole, multiplicado en remeras y tatuajes. La historia de un ícono de resistencia y contracultura. Apertura de Pablo Marchetti del programa 693 de AUNQUE ES DE NOCHE (26-10-2022) AUNQUE ES DE NOCHE. De lunes a viernes de 2 a 5 AM (hora Argentina) por Radio AM 750. Conducción: Pablo Marchetti. Con Rama Preckel y Laura Szerman. Operación técnica: Charly Escalante. Mensajes a nosoypablomarchetti@gmail.com Mirá, escuchá y leé todo lo que hago, acá www.pablomarchetti.com

Sam Freedman joined Gareth to discuss Elliptical, Realm of Flowers, Argentia, Daumier, Artorius and much more!

The Second Shot- After killing a fellow soldier in a duel, Lt, Daumier's life takes a sudden turn downward The Return= A traveler in North Africa seeking 'the perfect place' finds more than he bargained for Learn more about your ad choices. Visit podcastchoices.com/adchoices

Sam Freedman, who trains in partnership with his father Anthony, provides an update on the stables strong hand, which includes resuming Blue Diamond Stakes winner Daumier. 

Les expositions universelles sont des emblèmes de progrès, modèles de la classification, mais aussi symboles des transformations en cours dans le monde de la production ou de la ville. Adhérez à cette chaîne pour obtenir des avantages : https://www.youtube.com/channel/UCN4TCCaX-gqBNkrUqXdgGRA/join Pour soutenir financièrement la chaîne, trois choix: 1. Cliquez sur le bouton « Adhérer » sous la vidéo. 2. Patreon: https://www.patreon.com/hndl 3. UTip: https://utip.io/lhistoirenousledira Avec: Laurent Turcot, professeur en histoire à l'Université du Québec à Trois-Rivières, Canada 00:00 : Introduction 01:10 : Premières Expositions 03:45 : Londres et l'Empire 05:46 : Paris : la démesure 08:22 : 1889 10:52 : 1900 12:29 : Fortune des Expositions 14:31 : Conclusion Abonnez-vous à ma chaine: https://www.youtube.com/c/LHistoirenousledira Facebook: https://www.facebook.com/histoirenousledira Instagram: https://www.instagram.com/laurentturcot Les vidéos sont utilisées à des fins éducatives selon l'article 107 du Copyright Act de 1976 sur le Fair-Use. Pour aller plus loin: BAILEY, Peter. Leisure and class in Victorian England : rational recreation and the contest of control, 1830-1885. London , Routledge and Kegan Paul, 1978. BENNAHUM Judith, The Lure of Perfection: Fashion and Ballet, 1780-1830, Routledge, 2004. CONDEMI, C. Les cafés-concerts: histoire d'un divertissement, 1849-1914, Quai Voltaire, 1992. CORBIN, Alain, « Du loisir cultivé à la classe de loisir », dans CORBIN, Alain (dir.). L'avènement des loisirs, 1850-1960. Paris, Flammarion, 1996, 56-80 CROSS, Gary. A Social history of leisure since 1600. Oxford, Venture Publishing, 1990. CROSS, Gary. "Leisure in Historical Perspective" in GRAEFE A. and PARKER S. (ed.by). Recreation and Leisure: an introductory Handbook. Oxford, Venture Publishing, 1987, pp.25-29. CSERGO, Julia, « Extension et mutation du loisir citadin, Paris XIXe-début XXe siècle », dans CORBIN, Alain (dir.). L'avènement des loisirs, 1850-1960. Paris, Flammarion, 1996, p. 121168 CUNNINGHAM, H. Leisure in the Industrial Revolution c.1780 - c.1880. London: Croom Helm. 1980. CUNNINGHAM, H. Leisure, in The Working Class England, 1875-1914. London: Croom Helm. 1985. DUSSAULT, E. Paris: Moments phares et symboles, Septentrion, 2022. GERBOD, Paul, « A propos du loisir parisien au XIX e siècle », Ethnologie française, T. 23, No. 4, mélanges (Décembre 1993), pp. 613-622 HORN, Pamela, Pleasures & Pastimes in Victorian England. Sutton, 1999. JONES, Gareth Stedman. "Class expression versus social control? A critique of recent trends in the social history of leisure" in id. Languages of class. Studies in English working class history, 1832-1982. Cambridge University Press, 1983, pp.76-89. KASSON, John F., Amusing the Million: Coney Island at the Turn of the Century (American Century). Hill and Wang, 1978. LOMBARDO, Davide « Se baigner ensemble, Les corps au quotidien et les bains publics parisiens avant 1850 selon Daumier », Histoire urbaine 2/2011 (n° 31), p. 47-68. LOWERSON, J.& Myerscough, J. Time to Spare in Victorian England. Harvester Press. 1977. KREMER-MARIETTI, A. « Les avatars du concept de loisir au XIXe siècle dans la société industrielle et dans la philosophie sociale », dans Oisiveté et loisirs dans les sociétés occidentales au XIXe siècle, Abbeville, 1983. MARGETSONA, S. Leisure and Pleasure in the 19th Century, Cassell, 1969. MARRUS, M. R. The Emergence of leisure. New York, Harper & Row, 1974. MELLER, Helen, Leisure and the Changing City 1870 – 1914, Routledge, 1976. MILLER, M. Au bon marché : 1869-1920. Le consommateur apprivoisé. Paris, Armand Colin, 1987. ORY, Pascal, Les Expositions universelles de Paris. Panorama raisonné, avec des aperçus nouveaux et des illustrations par les meilleurs auteurs, Paris, Ramsay, 1982. TISSOT, Laurent (dir.), Construction d'une industrie touristique aux 19e et 20e siècles. Perspectives internationales. Neuchâtel, Alphil, 2003. TOWNER, J., An historical geography of recreation and tourism in the Western World 1540-1940. Chichester, John Wiley. 1996. THOMPSON, E.P., « Time, Work-Discipline, and Industrical Capitalism », Past & Present, 38, 1967, p. 56-97. URBAIN, JD, Sur la plage: moeurs et coutumes balnéaires (XIXe-XXe siècles), Paris, Payot, 1994 PORTER, Roy, « Les Anglais et les loisirs » dans CORBIN, Alain (dir.). L'avènement des loisirs, 1850-1960. Paris, Flammarion, 1996, p. 21-54 RAUCH André Vacances en France, de 1830 à nos jours. Paris, Hachette, 1996. RAUCH, André, Vacances et pratiques corporelles. La naissance des morales du dépaysement. Paris, PUF, 1988. RAUCH, André, « Les vacances et la nature revisitée », CORBIN, Alain (dir.). L'avènement des loisirs, 1850-1960. Paris, Flammarion, 1996, p. 83-120. WALTON, J.K. et J. WALWIN (dir.), Leisure in Britain, 1780-1939. Manchester University Press, 1983.

Blue Diamond winner Daumier drew barrier 8 for Saturday's Golden Slipper at Rosehill

Racing Manager for Anthony and Sam Freedman, Brad Taylor, joins Andrew Bensley to provide an update on Blue Diamond winner DAUMIER ahead of the Golden Slipper on Saturday.

Deep Dive Ep94 Jack Dickens & Pete Anthonisz review the Blue Diamond meeting from Caulfield with the Oakleigh Plate winner Marabi finding a new level. Brought to you by Punting Form. (0:00) Intro (5:20) Caulfield (8:10) R8 G1 Oakleigh Plate 1100m (Marabi) (13:35) R7 G1 Blue Diamond 1200m (Daumier) (16:00) R6 G1 Futurity 1400m (Sierra Sue) (20:55) Horses to Follow Get VIC & NSW mail & save $15.99 p/week on the Double-Parked pack: www.themailbag.com.au/shop/double-parked-weekly

Sam Freedman reflects on Daumier's victory in Saturday's Group 1 Blue Diamond Stakes at Caulfield.

Sam Freedman, who trains in partnership with his father Anthony, joins Racing Pulse to preview the stables strong hand on Saturday, headlined by Daumier in the Blue Diamond and star filly Argentia in the Angus Armanasco at Caulfield

durée : 00:38:59 - Les Nuits de France Culture - Les dessins, les croquis humoristiques dans les journaux : comment naissent-ils ? Jacques Faizant, Tim, Roland Topor et Jean-Pierre Desclozeaux répondaient à Michel Bichebois pour l'émission "A coups de crayon", au début des années 70. Les dessins, les croquis humoristiques dans les journaux : comment naissent-ils ? Quelques dessinateurs de presse répondaient à Michel Bichebois pour l'émission "A coups de crayon", au début des années 70.  * Alors ces dessins comment naissent-ils ? Pour certains un peu par hasard - le hasard de l'actualité - beaucoup en fonction de l'humeur du dessinateur.et pour d'autres aussi, sans doute, l'inspiration est fortement liée à la "couleur" du journal qui les emploie - et donc aux attentes des lecteurs. Des lecteurs qui ont évolué depuis Daumier et n'ont plus besoin de longues légendes... Selon Louis Morin, "la grâce, la vérité, la pitié, la poésie sont les quatre points cardinaux du dessin humoristique", Michel Bichebois était allé demander aux principaux intéressés ce qu'ils en pensaient :  Jacques Faizant : Si il y a de la grâce dans mes dessins c'est fortuit, je n'y suis pour rien, la vérité, je m'y efforce, la pitié je l'espère, et la poésie c'est au lecteur de le dire. Topor : La poésie dès qu'on la nomme ce n'en est plus. La poésie délibérée, je n'y crois pas du tout. Ce qu'on trouve être de la poésie n'est jamais de la poésie, c'est de la pacotille. Chaque fois qu'il y a eu un grand poète il a agrandi l'idée que l'on se faisait de la poésie. Il a fait ce qu'on pensait ne pas être de la poésie, justement. Il ne travaille pas à l'intérieur de règles, il change les règles. (...) La vérité il y en a plus qu'une. La chose la plus importante c'est qu'il y a une infinité de vérités, tout ce qu'on peut faire c'est les épuiser en apprenant à les connaître.  Jacques Faizant (Le Figaro), Tim (L'Express), Desclozeaux (Le Nouvel Observateur) et Topor (qui ne publiait pas dans la presse) livraient leurs secrets de fabrication. Par Michel Bichebois  A coups de crayon 2/2 : Parties 4 et 5 (1ère diffusion : 21 et 24/12/1973) Avec Jacques Faizant, Tim, Roland Topor et Jean-Pierre Desclozeaux Indexation web : Documentation Sonore de Radio France Archive Ina-Radio France

durée : 00:59:59 - Les Nuits de France Culture - Les dessins, les croquis humoristiques dans les journaux : comment naissent-ils ? Jacques Faizant, Tim, Roland Topor et Jean-Pierre Desclozeaux répondaient à Michel Bichebois pour l'émission "A coups de crayon", au début des années 70.Les dessins, les croquis humoristiques dans les journaux : comment naissent-ils ? Quelques dessinateurs de presse répondaient à Michel Bichebois pour l'émission "A coups de crayon_"_, au début des années 70. Un peu par hasard - le hasard de l'actualité -  beaucoup en fonction de l'humeur du dessinateur.mais aussi, sans doute, de la "couleur" du journal qui l'emploie - et donc des attentes des lecteurs. Des lecteurs qui ont évolué depuis Daumier et n'ont plus besoin de longues légendes... * Jacques Faizant (Le Figaro), Tim (L'Express), Desclozeaux (Le Nouvel Observateur) et Topor (qui ne publiait pas dans la presse) livraient leurs secrets de fabrication.Par Michel Bichebois  A coups de crayon 1/2 : Parties 1 à 3 (1ère diffusion : du 18 au 20/12/1973) Avec Jacques Faizant, Tim, Roland Topor et Jean-Pierre Desclozeaux Indexation web : Documentation Sonore de Radio France Archive Ina-Radio France

Conférence d'Antoine CompagnonBaudelaire identifia Constantin Guys comme le « peintre de la vie moderne », plutôt que Courbet, Daumier ou Manet, plus proches de lui pourtant. Se peut-il qu'il ait trouvé en Guys un compagnon dans la résistance à la religion du progrès ? Guys était-il vraiment un moderne ?Par Antoine Compagnon, historien de la littérature française, professeur émérite du Collège de France, auteur de Baudelaire, l'irréductible (Flammarion, 2021)Conférence enregistrée le 27 janvier 2022 à la BnF I François-Mitterrand Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Godolphin Australia CEO Vin Cox joins Michael Felgate after Epaulette colt Daumier upset the short-priced Philosopher in Wednesday's Group 3 Blue Diamond Preview (C&G) at Caulfield.

Until they turn 25 years old, most individuals are really only life “interns.” Full life begins once we enter our mid-20s. At its core, that is what Robert L. Dilenscneider's latest book, Nailing It: How History's Awesome Twentysomethings Got It Together, is about. Dilenschneider, an accomplished author and communications consultant, tells the story of 25 well-known personalities when they were 25 years olds — from Mozart to Edith Paif, Albert Einstein to Steve Jobs — and the one defining trait they shared on their path to immortality. To help interview Dilenschneider, host and award-winning journalist Dean Rotbart enlisted his multi-talented daughter, Avital, who not coincidentally, turns 25 years old this week. As Avital points out, there is a great deal to be learned from history, no matter your age. Photo: Robert L. Dilenschneider, Nailing ItPosted: December 20, 2021Monday Morning Run Time: 45.54

Sistema de impresión de imágenes inventado en 1798 por Aloys Senefelder. La litografía fue uno de los primeros sistemas de copiado y reproducción en serie de imágenes. La técnica está basada en el sencillo y fundamental principio de que “el agua y la grasa se repelen”. Para este tipo de impresión, se utiliza una matriz de piedra caliza pulida sobre la que se dibuja con pincel o lápiz graso. La litografía fue utilizada por en el Siglo XIX por Goya, Daumier, Géricault, Delacroix, Odilon Redon, Vuillard, Bonnard, y en el siglo XX, Eduard Munch, Emil Nolde, Matisse y Braque y Picasso. A finales del siglo XIX e indisociablemente asociado a la aplicación de la cromolitografía o litografía en color, nace el nuevo arte del cartelismo, máximo representante del cuál fue sin duda Toulouse-Lautrec. Con sus carteles este artista francés revolucionó el arte de la publicidad. Durante el siglo XIX la litografía estuvo estrechamente vinculada al desarrollo de la prensa y fue uno de los sistemas más utilizados para la ilustración de libros. Aunque este procedimiento fue extensamente usado con fines comerciales, la mayor parte de los grandes pintores de los siglos XIX y XX también lo emplearon ya que facilitaba obtener un cierto número de copias de un mismo trabajo: Picasso,5​ Toulouse-Lautrec, Joan Miró, Piet Mondrian, Ramón Casas, Antoni Tàpies, Alphonse Mucha, Goya, Andy Warhol, etc. Asimismo, reciben el nombre de litografía, además del sistema de impresión, cada uno de los ejemplares obtenidos por este procedimiento así como el taller donde se realiza este tipo de trabajos. Posteriormente, al aparecer las rotativas se comenzaron a emplear láminas flexibles de zinc o de aluminio, y más recientemente de plástico, en sustitución de las pesadas piedras litográficas. Con la incorporación de la fotomecánica, dichas planchas dejaron de ser dibujadas a mano, puesto que la sensibilización de su superficie permitía exactas reproducciones fotográficas. Aunque de forma incorrecta, aún es frecuente denominar a las empresas de Artes Gráficas, como Litografías.

#TuneIn2InTune TONIGHT! NIKTWIT/@NIKTWITS1: Born & raised in Calizuela (California), NIKTWIT is an LA Underground Conservative Artist, Pianist/Composer/Actor whose caricatures capture the absurd & often sinister characters on the world stage.   NIKTWIT uses his incredulity, anger, frustration & sometimes his innate drawing skills to document the parade of political & celebrity clowns in a Daumier-esque fashion.  His raw & sometimes-brutal portrayals of the rotten, corrupt & ridiculous are a desperately needed comedic respite & affirmation to the absurd & often terrifying current events. Follow @NIKTWITS1 on Twitter NIKTWIT Website: https://niktwit.patriotwebdesign.net/ Follow Lank London on Facebook Follow @LondonLank on Instagram  dlive: https://dlive.tv/PatriotsInTune Twitch: https://twitch.tv/patriotsintune Facebook: https://facebook.com/patriotsInTune Access all platforms from our website https://PatriotsInTune.net or https://PatriotsInTune.com PATRIOTS IN TUNE SHOW hosted by Toots Sweet & the lovely  Jewels Jones. Mon, Tues, Thurs, Fri 7:00pm ET/4:00pm PT & Catturd Wednesdays from 12:00​pm ET/9:00am PT Donate To Us! PayPal: https://paypal.me/PatriotsInTune Patreon: https://www.patreon.com/PatriotsInTune ***Disclaimer: The opinions and views of our guests DO NOT necessarily reflect the opinions and views of the "Patriots In Tune" channel.

NIKTWIT/@NIKTWITS1: Born & raised in Calizuela (California), NIKTWIT is an LA underground conservative Artist, Pianist/Composer/Actor whose caricatures capture the absurd & often sinister characters on the world stage.   NIKTWIT uses his incredulity, anger, frustration & sometimes his innate drawing skills to document the parade of political & celebrity clowns in a Daumier-esque fashion.  His raw & sometimes-brutal portrayals of the rotten, corrupt & ridiculous are a desperately needed comedic respite & affirmation to the absurd & often terrifying current events. Surprise Guest:  LANK LONDON  Follow @NIKTWITS1 on Twitter NIKTWIT Website: https://niktwit.patriotwebdesign.net/ ***Disclaimer: The opinions & views of our guests DO NOT necessarily reflect the opinions & views of the "Patriots In Tune" channel. Patriots In Tune a talk show where politics, music & laughter collide!! Channel hosted by Toots Sweet & the lovely Jewels Jones. Mon, Tues, Thurs, Fri 9:00pm-11:00pm EST and Wed's from 12:00pm-2:00pm EST Donate To Us via PayPal Here: https://www.paypal.com/donate/?cmd=_s-xclick&hosted_button_id=LTFY5SLVSPCX2&source=url Donate To Us via Patreon Here: https://www.patreon.com/PatriotsInTune?fan_landing=true Join The Mighty200+ PIT Crew in Live Chat! Get in the chat! dlive: https://dlive.tv/PatriotsInTune Twitch: https://twitch.tv/patriotsintune Facebook: https://facebook.com/patriotsInTune Access all platforms from our website  https://PatriotsInTune.net or https://PatriotsInTune.com dlive - CloutHub 145-Twitch - FB Donate To Us!  PayPal: https://www.paypal.me/PatriotsInTune Patreon: https://www.patreon.com/PatriotsInTune

Western University of Health Sciences takes a whole-student approach to educating future healthcare professionals. And that complements the way COCM’s Meera Ramsoondar-Cuevas serves her team and the students she works with, connecting with people through the lens of their individual experience. Meera is the Director of Housing Operations at The Daumier at Western University of Health Sciences in Pomona, California. She has been with Capstone On-Campus Management for six years, serving as Associate Director of Residence Life at City College of New York before taking on her current role in October of 2018. Meera earned the COCM Excel Award in February of 2020. On this episode of Student Housing Matters, Meera joins guest host Alton Irwin for the first of a series of conversations with Excel Award winners to discuss what it’s like to serve graduate students in the healthcare space. She describes the humanistic approach unique to the community and campus at WesternU and shares the benefit of having pet-friendly floors on her site. Listen in to understand how the Excel Award reflects the excellence of the people Meera’s worked with and find out what her students have taught her about cultivating compassion and seeing the world through a different lens. Topics Covered  Meera’s role as Director of Housing Operations at The Daumier at Western University The graduate degree programs in health sciences offered at WesternU The humanistic approach unique to the community and campus at WesternU How a student population of future health professionals navigated the COVID pandemic The benefit of having two pet-friendly floors at The Daumier Why Meera loved working 1:1 with students in her first role in residence life with COCM How Meera sees her Excel Award as a reflection of the great teachers she’s worked with What Meera has learned from her students about compassion and seeing the world through a different lens Why it’s the small interactions with students that bring Meera the most satisfaction Connect with Meera The Daumier at Western University The Daumier on Instagram Meera on LinkedIn Connect with Alton Student Housing Matters Student Housing Matters on Facebook Student Housing Matters on Twitter Capstone On-Campus Management Alton at COCM Alton on LinkedIn Email media@cocm.com

durée : 00:51:19 - Le Cours de l'histoire - par : Xavier Mauduit, Maïwenn Guiziou - En France, l’histoire du rire est teintée d’un goût prononcé pour la contestation, voire d’idéaux démocratiques. L’ironie et la satire sont-elles des traits singuliers d’un humour "à la française" ? Daumier, Pierre Dac, Desproges, même combat ? - réalisation : Esther Valencic, Somaya Dabbech - invités : Alain Vaillant professeur de littérature française à l’université Paris X Nanterre; Laurent Bihl maître de conférences en histoire et communication audiovisuelle à l'Université Paris 1 Panthéon-Sorbonne

Canons et tableaux Le voici donc Emil Georg Bührle. Il pose en 1953 au milieu de sa collection, entouré de ses chers et coûteux tableaux, de tous ces peintres qu’il admirait tant. En quelques années seulement, il a constitué une collection privée sans égal. Toute la fierté du propriétaire. À juste titre? Grâce à l'argent de la vente d'armes de son usine de machines-outils d'Oerlikon 1944, qui fait monter sa fortune de 140’000 francs à 127 millions, Bührle a acheté de l'art français provenant principalement d'anciens propriétaires juifs. Entre 1934 et 1945, peu après la prise du pouvoir par les nationaux-socialistes et jusqu'à la fin de la guerre, il revient à sa passion de jeunesse, les beaux-arts. Durant ces douze années dévastatrices, avec leur 50 à 80 millions de morts dus à la guerre et à la Shoah, il a acquis des dizaines d'œuvres de Daumier, Corot, Courbet, Manet, Pissarro, Monet, van Gogh, Gauguin, Cézanne, Toulouse-Lautrec, Modigliani et Picasso. Dimanche 28 février à 23h00 sur RTS Deux, vous pourrez découvrir "Le marché de l'art sous l’occupation" un documentaire de Vassili Silovic (France, 2020). Résumé: Sous l’Occupation, le marché de l’art en France a été florissant. Près de deux millions d’objets d’art furent échangé entre 1940 et 1944. Enquête historique sur le gigantesque trafic d’œuvres d’art organisé depuis Paris et qui a largement profité aux marchands et collectionneurs suisses. Photo: Emil Georg Bührle en 1953, entouré par quelques unes des pièces de sa collection. 

Art Ludique est le premier musée au monde qui permet au grand public de découvrir les artistes qui se cachent derrière les oeuvres grandioses produites par les plus grands studios (Disney, Pixar, Ghibli,...).  Arludik, quant à elle, est une galerie qui vend les oeuvres de ces fabuleux artistes qui nous ont tous mis des étoiles dans les yeux (Moebius, Glen Keane, Giger, John Howe, Satoshi Kon, Otomo, Claire Wendling, et tant d'autres...). Le musée et la galerie sont tenus par deux passionnés d'art du divertissement, persuadés que c'est bien là que se trouve l'art du XXIème siècle. Ils sont aussi bien lecteurs que joueurs que spectateurs et ont permis à des millions de gens de comprendre l'envers du décor de cette industrie. Découvrez Diane et Jean-Jacques Launier dans cet épisode riche en références et écoutez-les parler avec envie de la mission dont ils sont investis ! Vous pouvez soutenir le podcast ici Suivez le podcast sur Instagram Nous parlons de L'exposition Miyazaki-Moebius à la monnaie de Paris Les expositions du musée Art Ludique (Pixar, DC Comics, Aardman) Une banane à 120 000 dollars Le court-métrage oscarisé Creature comforts de Aardman Le clip Sledgehammer de Peter Gabriel Les oeuvres plug anal géant, le vagin de la reine, les toilettes en or massif, le carré blanc, l'incendie de la banque de France, Le personnage du Joker au Liban Le festival d'Annecy L'école des Gobelins La série Oggy et les cafards Liste des artistes et studios évoqués Les artistes * Jack Kirby, * Moebius, * Giger, * Glen Keane, * Peter de Sève, * John Howe, * Arthur de Pins, * Stan Lee * Rackham, * Philipon, * Doré, * Daumier, * Hokusai, * Winsor McKay, * Disney, * Tezuka, * Grimault * Marjane Satrapi, * Otomo * Pierre-Olivier Vincent de Dreamworks, directeur artistique de Dragons * Nicolas Marlet, directeur artistique de Kung Fu Panda Les studios * Ubisoft (Assassins Creed) * Dreamworks, * Pixar, * Aardman, * Marvel * Illumination (Moi, Moche et Méchant)  Leurs objets culturels inspirant Le jeu vidéo Detroit de Quantic Dreams Le dernier Assassin's Creed Jeu vidéo de Aardman (11-11: Memories Retold) Le film J'ai perdu mon corps de Jérémie Clapin  Où suivre Arludik Sur le site de la galerie et du musée Sur Instagram, Twitter, Facebook A propos de l'animateur Je suis Alexandre Soubrier, réalisateur de films graphiques. Vous pouvez me trouver sur twitter, facebook, instagram, vimeo. J'ai même un site sur lequel je poste quelques réalisations et sur lequel vous pouvez me contacter. Le court extrait de musique vient du magnifique album de Wax Taylor "Tales of Forgotten Melodies".

Cette semaine, on parle du couple dans le Journal du rire, à l'occasion de la Saint Valentin

Cette semaine, on parle du couple dans le Journal du rire, à l'occasion de la Saint Valentin

L'OEIL DANS LE RETRO lundi et jeudi à 14h. Une émission présentée par Julie Gabrielle Chaizemartin qui, occasionnellement, vous propose de réécouter des interviews réalisées il y a quelques temps, de mettre un œil sur nos archives sonores donc, ou plutôt une oreille !  Plantu vient d’annoncer qu’il quitte Le Monde, qu’il prend sa retraite après un bon-demi siècle de bons et loyaux services. A 70 ans, il lègue cette place prestigieuse au collectif "Cartooning for Peace" (qu'il a créé en 2006) qui serait donc promis à poursuivre son chemin à la Une du célèbre quotidien français. Dessins multiples, de femmes et d’hommes du monde entier. Plantu m’avait accordé une interview le 10 janvier 2015, 3 jours après l'attentat contre Charlie Hebdo, alors qu'il inaugurait une exposition qu’il présentait à la Villa Daumier, à Valmondois, dans le Val d’Oise. « Caricaturistes, fantassins de la démocratie » tel était le titre de cette exposition, mais aussi le titre d'un livre (chez Actes Sud) et d’un documentaire où le célèbre caricaturiste du journal Le Monde y rassemblait justement les dessins du collectif « Cartooning for Peace ».  A l’époque, dans l’exposition Plantu me parle de Cabu, de ce collectif, de la caricature et de son engagement pour la démocratie, et aussi un peu de Daumier. On le réécoute !

Fall semester 2020 brings season 3 of the Creativity Conversations podcast.This podcast episode features excerpts the Feb. 2019 conversation between woodcut artist Tom Hück and Michael C. Carlos Museum Curator of Works on Paper Andi McKenzie. Watch the video of the original conversation.Best known for his large-scale woodcuts, Hück's brash sociopolitical commentary draws from great satirists like Hogarth, Daumier, and R. Crumb. His technique, however, is inspired by the famed German woodcut artists of the Northern Renaissance, Albrecht Dürer and Martin Schongauer, among others. Hück and McKenzie discuss these influences and Huck's creative enterprise, Evil Prints, where he creates his own work and trains the next generation of remarkable printmakers.This conversation is introduced by host/Arts at Emory employee Maggie Beker and Emory College student Joel Hines. Beker and Hines introduce the podcast, discuss Hines' own creative works, and enjoy exploring a medium foreign to them both - woodcutting.This program is part of the Rosemary M. Magee Creativity Conversation endowed series.

Où l'on parle d'éducation, d'arts, d'institutions et d'inspirations Art Ludique est le premier musée au monde qui permet au grand public de découvrir les artistes qui se cachent derrière les oeuvres grandioses produites par les plus grands studios (Disney, Pixar, Ghibli,...).  Arludik est une galerie qui vend les oeuvres de ces fabuleux artistes qui nous ont tous mis des étoiles dans les yeux (Moebius, Glen Keane, Giger, John Howe, Satoshi Kon, Otomo, Claire Wendling, et tant d'autres...). Le musée et la galerie sont tenus par deux passionnés d'art du divertissement, persuadés que c'est bien là que se trouve l'art du XXIème siècle. Ils sont aussi bien lecteurs que joueurs que spectateurs. Ils ont permis à des millions de gens de comprendre l'envers du décor de cette industrie. Découvrez Diane et Jean-Jacques Launier dans cet épisode riche en références et écoutez-les parler avec envie de la mission dont ils se sont investis ! Vous pouvez soutenir le podcast ici Suivez le podcast sur Instagram Nous parlons de L'exposition Miyazaki-Moebius à la monnaie de Paris Les expositions du musée Art Ludique (Pixar, DC Comics, Aardman) Une banane à 120 000 dollars Le court-métrage oscarisé Creature comforts de Aardman Le clip Sledgehammer de Peter Gabriel Les oeuvres plug anal géant, le vagin de la reine, les toilettes en or massif, le carré blanc, l'incendie de la banque de France, Le personnage du Joker au Liban Le festival d'Annecy L'école des Gobelins La série Oggy et les cafards Liste des artistes et studios évoqués Les artistes * Jack Kirby, * Moebius, * Giger, * Glen Keane, * Peter de Sève, * John Howe, * Arthur de Pins, * Stan Lee * Rackham, * Philipon, * Doré, * Daumier, * Hokusai, * Winsor McKay, * Disney, * Tezuka, * Grimault * Marjane Satrapi, * Otomo * Pierre-Olivier Vincent de Dreamworks, directeur artistique de Dragons * Nicolas Marlet, directeur artistique de Kung Fu Panda Les studios * Ubisoft (Assassins Creed) * Dreamworks, * Pixar, * Aardman, * Marvel * Illumination (Moi, Moche et Méchant)  Leurs objets culturels inspirant Le jeu vidéo Detroit de Quantic Dreams Le dernier Assassin's Creed Jeu vidéo de Aardman (11-11: Memories Retold) Le film J'ai perdu mon corps de Jérémie Clapin  Où suivre Arludik Sur le site de la galerie et du musée Sur Instagram, Twitter, Facebook A propos de l'animateur Je suis Alexandre Soubrier, réalisateur de films graphiques. Vous pouvez me trouver sur twitter, facebook, instagram, vimeo. J'ai même un site sur lequel je poste quelques réalisations et sur lequel vous pouvez me contacter. Le court extrait de musique vient du magnifique album de Wax Taylor "Tales of Forgotten Melodies".

This episode gives an in-dept analysis of the advantage of being a pessimistic.

During the mid-19th century, European academic art was all the rage. Subjects in painting came from mythology, history or the Bible, and the work's style was often tight, controlled and hyper-realistic. Then came Daumier, a Frenchman, who helped change the game for good. Join our hosts as they discuss Daumier's disruptions of convention, rebellious choice of subject matter and loosened style.

The Modern Art Series: Coubet and Manet and I am joined in studio with Guest- Host, Harry Mattull (@harrymattullart) We discuss French Realism with artists: Gustave Courbet, Jean-François Millet, Honoré Daumier and the first Modern Artist, Édouard Manet. Click Here to See Paintings Discussed in this Episode  I'd like to thank Harry for joining me on this podcast. Check out his artwork on Instagram at @harrymattullart and see some of his work in the show notes, click link to view. Show Notes - paintings discussed - available at www.collisionpodcast.com Collision Podcast, Where Art, History & Music Collide with Host Sharon M. Fitzgerald, MA  

September 6, 2017 at the Boston Athenæum. The first great portrait photographer, a pioneering balloonist, the first person to take an aerial photograph, and the prime mover behind the first airmail service, Nadar was one of the original celebrity artist-entrepreneurs. A kind of 19th-century Andy Warhol, he knew everyone worth knowing and photographed them all, conferring on posterity psychologically compelling portraits of Manet, Sarah Bernhardt, Delacroix, Daumier and countless others—a priceless panorama of Parisian celebrity. The Great Nadar is a brilliant, lavishly illustrated biography of a larger-than-life figure, a visionary whose outsized talent and canny self-promotion put him way ahead of his time.

"I’m interested in the grandiose delusions of characters, and the domestication and control of humans over animals." Could you tell us a bit about yourself? How long have you been a practicing artist and where did you study?I quite liked art from a young age. I liked colouring in. I knew I was good at drawing owls and kingfishers as when it rained and we had to stay inside during play time I would sit at the table holding court with a stack of paper surrounded by a small huddle of other children. As they requested, I would either do them an owl or make paper aeroplanes - something else I have always been good at. In fact, I’m interested in throwing things and projectiles in general. When I was in secondary school, art was the most attentive I was towards any subject. I had some very good art teachers. I got into clay and eventually into paints when I was 16. The first painting I produced on canvas was of some men in a row boat. An attempt at futurism, the oars were depicted in a fragmented way to indicate the violence of being thrashed through the water. Painted in cadmium orange and vermillion hue, it has overly thick black outlines around the figures.I had probably just seen Duchamp or Balla in a book and thought yeah I’m into that. By the time I was 18 I knew I wanted to step into painting. I took art foundation at Reading College, an entertaining year for trying all manner things - dark rooms, printing presses, having a bash at fashion, life drawing. From there I moved to London. I was interested in my mother’s roots being imbedded in the East End and all the jobs her family previously had – tea packers, market porters and the like around Spitalfields, Whitechapel and Shadwell. Naively perhaps, I choose London Metropolitan solely on its East End location. I worked on painting and later print making. I felt disillusioned at school and would often sulk in class and paint at home. In my painting ‘lessons’ I couldn’t understand why we were not taught anything of process and technique, which is why I eventually switched to printmaking. In the printing rooms we had equipment to use and techniques to be shown and mastered, and that got me going back into university again. I understand now that this is just the unfortunate way UK art education has gravitated - the teaching of technique is passé, but when I was 19 I didn’t get that and I felt affronted by it. Armitage Shanks, 2017 View fullsize Garibaldi (Green), 2017 View fullsize Sausage Fingers, 2017 View fullsize Bismarck As A Jelly Baby, 2016 Your work has a lot of humour in it, with strange characters and narratives. Could you tell us about these paintings and the inspiration behind them? You may have one story. I’ve been making portraits of Otto van Bismarck. A while back a friend of mine moved house. A welcoming dinner was arranged and I was duly invited. When I arrived at the house, in the kitchen I saw this wonderful painting. Hung before me was a portly old fellow in lush military garbs. Prussian blue. I want to know who it is of – 'Bismarck,' I am told. I want to know who painted it – ‘Ivan,’ I am told, ‘he lives here and he will be coming back late tonight – you can meet him...’All through dinner I build this image of Ivan up in my head. He is witty and charming but wonderfully modest about his painting. We will become best friends. We will move to Margate together and share a studio and paint portraits of each other happily ever after. I am Van Gogh feathering the Yellow House for him, he is Gauguin and I am waiting for him to arrive. But like Gauguin - he is late.Ivan eventually arrives. He is an arrogant and aloof. The dream is broken. We don’t get on. I end up falling over whilst dancing and crash into his dinner table, breaking it. Pleased with myself I laugh on the floor hoping he is in the room watching. As a way of forced apology, the next day I tell my friend to say that I’m sorry. As a throw away remark I add that I am inspired by his Bismarck to have ago Myself, without any real intent to. However, this was provocation and Ivan’s reaction was to take the painting down and re work it. Suddenly I feel powerful. What else can I make him do? I discover he only paints Bismarck and Garibaldi. As a riposte, I decide to start making a series of these figures. I enjoyed the idea of playing sociopath, the idea of toying with macho posturing and the history of frivolous artistic rivalries - Modigliani sneering at Picasso’s dress sense. The initial farcical circumstance as to why I began painting Bismarck has lost relevance now. The series has evolved into something else. Ideas can morph and shift into different realms freely if you allow them, even by your own absence of mind.Tell us a bit about how you spend your day/studio routine? What is your studio like?I tend to live where I work. These are normally haphazard and temporary spaces. I used to squat buildings but I’m out of that scene now. Almost everything I own I deem useful for making work. Having my possessions separated between living and working distresses me. When I have had to take on a separate studio from where I live I find it less productive. There is something glorious about waking up and having everything before you. I had a big enough space over in Hackney that recently dissolved. I came home one day and was greeted by a locksmith who was changing my locks after some grunts had bumped the door open. I was served my notice. Some unscrupulous individual whose job had been to pass on our money to the landlord had done a runner with the last 3 months rent. As I have a show on the horizon I had a desperate search to find something urgently.Currently I find myself subletting in Cable Street Studios, Limehouse from a girl who has run off to Spain to have an affair. Sounds like a bad novel. I am making work for a solo show in a space that is too small so I use the bath as a table to paint on. Cable Street is hilarious. Imagine a malfunctioning sleep over centre full of lank hair, harem trousers and broken bike parts set inside a Victorian coastal fortress. Last time I lived here there was an excellent transvestite club called ‘Stunners,’ but that has sadly closed. As for routines – I don’t have one. Life is not like that. If I have a show coming up I will be reclusive and get on with it. If I’ve not got anything pending, essentially I’ll flirt with different day jobs so I’ll paint in the evening or if I can afford to then I like to travel. I like to walk around new places and point at things. Say Shells, 2016 Whomping, 2016 What artwork have you seen recently that has resonated with you?I was skulking around the back of the Royal Academy recently and I found Mamma Anderson at Stephen Friedman gallery. Anderson’s got two shows on at both the spaces on New Burlington Street. One of the galleries displays all these beautiful woodblock prints. I was like yes I want to go and make woodblocks. They are really beautiful. Some are of a woman working in a field a bit like the Van Gogh peasant worker studies, and there are other prints of gloves with tassels on, like cowboy style rodeo gloves. I had never heard of Mamma Anderson before.Lately I also viewed Rodney Graham at The Baltic in Gateshead. He has produced very simplistic film sequences on loop that played in the space on some beautiful old cinematic projectors. I’m a big fan of repetition. Graham had some large scale, very deliberately staged photographs of himself playing different characters. He has displayed them on light boxes which I don’t think were at all necessary - should have stuck to matte mate.I was in New York recently and gladly saw Circus Sideshow (Parade de cirque) at The Met. Predominately Georges Seurat and Daumier works, the exhibition shows many studies documenting the people who stood outside the circus and gave away little teasers to the audience, enticing them to part with their money and enter the tents. There was a real sense of poignancy in the works as these social outcasts were not the main event, in fact very often the poorest and most down trodden of all the performers.The New Museum is my favourite place to go so every time I am in New York I visit. I feel the New Museum is to New York what the Barbican Centre is to London in some ways. This time around it had an amazing video by A.K Burns alongside an installation of a sparkling blue neon underneath the skeleton of a sofa that I kept wanting to touch.Where has your work been headed more recently?Denmark. I’ve got a solo show coming up in June at Vesterbro Showroom in Copenhagen. It is called ‘Sausage Pile Up.’ The exhibition is based upon the idea of hierarchies, pomp and circumstance. I’m interested in the grandiose delusions of characters, and the domestication and control of humans over animals. These characters feature alongside semi anecdotal images of recent occurrences. I have been making paintings on aluminium and playing with thin layers of pigment in turpentine. There is quite a lot of colour in this show, Cadmium Yellow, Royal Blue, Chromium Green, Pinks and Peaches. As I had to make a significant volume of works in a short space of time I have had to change stylistically for practical reasons. The new works are looser, more gestural and expressive. Simply put – quicker. I have found aluminium perfect for sliding around coloured fluids as its smooth surface lends itself well to this process of paint application. Domestic Bliss, 2017 Living Memories, 2014 How do you go about naming your work?I mainly get my ideas whilst I’m out. Snatches of conversations at parties or outside pubs. It can be phrase I’ve read or someone telling me a story whilst sat on a kitchen floor. If I can bring those things home with me and I still think it’s good the next day with a different head on it will make the list. I have an ever-changing list of titles, generally 20 to 30 unused at any one time. As I work through the list, old titles are crossed out and new ones are added. Some have been on the list for a long time, waiting for me. Some I may never use as words lose relevance. I’ve kept this list for years; it has moved around with me. One day I’ll run out of room or I’ll lose it but no matter I’ll start a new one. Sometimes I wait for a work to fit a title, and other times I think yes that’s such a good title for a painting so I move with impetus and immediately try to work out what the painting could be. Other times it can be less fuss – I’ll start a painting and the title will materialise off-list. Conversely sometimes my titles can be mundane and self-explanatory – a painting of Japanese Noh masks is titled ‘Noh Masks.’ I’m not into these long titles, and I don’t like it when people just number their works – like they are making batches. Baking paintings.Is there anything new and exciting in the pipeline you would like to tell us about? The pipeline is full of sausage. For my forth coming exhibition ‘Sausage Pile Up,’ I am working on a preformative piece. I got really excited finding out that a head chef wears the tallest hat in the kitchen. I love that the height signifies their dominance, an over the top beacon of their status. I am making a chef’s hat that is too tall – so as to show off. I have acquired a sausage stuffing machine that will be producing reams of sausages, multi coloured - I am hoping for pastel shades. I want hundreds of them dolloped on top of an off cut of cream Wilton wool carpet.Part of the exhibition is a collaboration with the band Blue House. The band have been writing lyrics and music based upon imagery and the narratives in my painting. Blue House are going to be playing sets throughout the run of the exhibition. I have not been part of a collaboration like this before and I am excited to hear what they come up with. I am not entirely privy to what has been written, but I do know A capella singing will feature at some point.www.phillip-reeves.co.ukAll images courtesy of the artistInterview published 01/06/17

This paper addresses the tendency to recognize human and animal faces in art as well as in design, featuring examples such as Daumier's caricatures, Lebrun’s physiognomy, Emoticons and car design.

This paper addresses the tendency to recognize human and animal faces in art as well as in design, featuring examples such as Daumier's caricatures, Lebrun's physiognomy, Emoticons and car design.

Honoré Daumier (1808-1879) nació en Marsella, hijo de un vidriero pobre, que se trasladó a París en 1814. Daumier es hijo de la Revolución de julio de 1830. Siempre fue un gran observador.....Hola, puedes encontrarme en www.spainhistoryteacher.com o en twitter historiapodcast. SE FELIZ

With Mark Lawson. Dame Judi Dench discusses her role in the new film Philomena, in which she plays a 70-year-old Irish woman who is looking to trace her son, taken away from her when she was a teenager. She discusses portraying and meeting the real Philomena Lee, and working with Steve Coogan, who co-scripted and co-stars in the film as Martin Sixsmith, the man who helped Philomena find her child. Honoré Daumier was a French printmaker, sculptor and painter whose work offered a social commentary on 19th Century French life. A new exhibition, Visions of Paris, explores his legacy. Booker Prize-winning novelist Julian Barnes reviews the show. Henrik Ibsen's play Ghosts is enjoying two very different new productions at the moment. In English Touring Theatre's staging, the sets take inspiration from designs originally made for the play by Edvard Munch in 1906. In Richard Eyre's new version, at the Almeida Theatre, London, the transparent walls of the set provide a stark contrast to the secrets hidden by the characters. Tim Hatley who designed the Almeida's production and Sue Prideaux, Munch's biographer, discuss the different approaches to representing the text. Peep Show stars David Mitchell and Robert Webb reunite in Ambassadors, a TV comedy-drama series about the inner-workings of an embassy in the fictional country of Tazbekistan. Briony Hanson of the British Council delivers her verdict. Producer Jerome Weatherald.

C'EST LE WALTER'S WEEKLY SHOW, LA SEMAINE DE WALTER ENVIRON TOUS LES MOIS, C'EST LA SAISON 4 ET C'EST L'EPISODE 112 ! ET CA FAIT RIRE LES BEBES !

Présentation de l'œuvre de Daumier célébré en son temps comme le «Michel-Ange de la caricature ». L'oeuvre lithographique de Daumier est un théâtre qui met en scène des personnages dans des situations tragiques ou cocasses. Les sujets varient au gré du durcissement ou de l'assouplissement de la censure, dans une alternance de thèmes touchant soit à la politique, soit aux moeurs ou à la vie quotidienne, De la monarchie de Juillet à la chute du second Empire, c'est une véritable Comédie humaine fourmillante de personnages tour à tour émouvants, tragiques, ridicules ou méchants, qui se déploie sous nos yeux, dans la nervosité d'un dessin dénonçant avec force les nouveaux travers de l'époque, dure aux humbles et providentielle aux bourgeois triomphants.

Daumier, le célèbre caricaturiste, s'est attaqué au pouvoir politique mais aussi à la bourgeoisie triomphante de son temps. Il n'était pas seulement un dessinateur qui réalisa plus de 4000 dessins mais aussi un peintre et un sculpteur. Au-delà de la caricature, les personnages et les situations qu'il représente donnent une bonne image de la société du XIXe siècle. Daumier, Les images contre le pouvoir, @ CNDP, 1997. - TDC n° 1029 Histoire et caricature - février 2012

Dans ses « Contes parisiens », l'écrivain se moque joyeusement de ses contemporains dont il critique les moeurs avec une ironie quelquefois mordante. Ce petit film, illustré par les dessins de Daumier, évoque quelques personnages qui inspirèrent l'auteur et le dessinateur. Extrait de Maupassant et ses contes parisiens, @ CNDP, 1984 - TDC n° 1029 Histoire et caricature - février 2012

The University of Arizona Museum of Art presents "Jenny Schmid: The Vistas of Gender Utopia," an exhibition marking this exciting emerging printmaker’s first comprehensive solo museum presentation and monograph publication. Schmid will offer a lecture on her work on Sept. 18 at 4 p.m. and a book signing and opening reception will follow from 5 p.m.-6:30 p.m. Schmid’s “Gender Utopia” project explores notions of gender and liberty through images that fuse Old Master print precedents with a hip contemporary sensibility. Critical yet humorous, Schmid’s work is luxuriantly colored, exquisitely wrought, and iconographically rich. Her prints quote from Europe’s Medieval and Renaissance print precedents, the medium’s traditions of social satire and arch political caricature (including Breugel, Hogarth, Goya and Daumier), contemporary journalism and sociology, feminist scholarship, graphic novels and various strains of popular culture – visual, musical and literary. Densely packed with symbols and language, the work traces the distant past to the immediate present with a wry humor that carries the sharp poke of contemporary critique. Sept. 18, 2008.

"Jenny Schmid: The Vistas of Gender Utopia," was an exhibition at the University of Arizona Museum of Art marking this exciting emerging printmaker’s first comprehensive solo museum presentation and monograph publication. Schmid’s “Gender Utopia” project explores notions of gender and liberty through images that fuse Old Master print precedents with a hip contemporary sensibility. Critical yet humorous, Schmid’s work is luxuriantly colored, exquisitely wrought, and iconographically rich. Her prints quote from Europe’s Medieval and Renaissance print precedents, the medium’s traditions of social satire and arch political caricature (including Breugel, Hogarth, Goya and Daumier), contemporary journalism and sociology, feminist scholarship, graphic novels and various strains of popular culture – visual, musical and literary. Densely packed with symbols and language, the work traces the distant past to the immediate present with a wry humor that carries the sharp poke of contemporary critique. Sept. 2008.

Derick Dreher has been the Director of the Rosenbach since 1998. He has an M.A. in the History of Art from Yale University,and is a summa cum laude graduate of Princeton. A Fulbright scholar, he was awarded a Kress International Research Fellowship, for research in Germany. A specialist in graphic arts of the Renaissance, he has published on a variety of subjects, including prints and drawings ranging from Dürer to Daumier, and has spoken internationally on drawings, rare books, libraries and the art of memory. We met at the Museum on a rainy Philadelphia morning to talk about the life, loves and business practices of celebrated bookseller and collector 'Doctor'  Abraham Simon Wolf Rosenbach, who got his PhD. in 1901, and subsequently went into business with his older ambitious Anglophilic brother Philip who sold fine and decorative arts. The Doctor was bent on selling books and manuscripts. We examine his ability to turn  customers  into collectors, to build libraries, to serve as an advisor not a dealer; his first great customer, street car magnate Harry Widener, who went down with the Titanic; what $100,000 bought in 1912, the Doctor's relationship with the Huntingtons and Folgers, his brilliant, ruthless book buying and selling practices, his skill at manipulating prices and the media,  the manuscript of Alice in Wonderland, making private collections public, the Museum's 333,000 odd documents, the manuscript of James Joyce's Ulysses, bought at auction for the reserve price,  Stoker's notes for Dracula, Conrad's manuscripts, tours as appetizers,  the correspondence and physical library of Marianne Moore, and Maurice Sendak as a bridge to the museum's entire collection.    

Quentin Blake, one of Britain’s best-loved and most successful illustrators, famous for bring to life the stories of Roald Dahl. Quentin talks about the artists and paintings who inspired him to take up illustration including works by Daumier, Goyer and Rembrandt.