Null Honoré-Victorin Daumier,
French 1808-1879-

Don Quixote on horseback;

pen …
Description

Honoré-Victorin Daumier, French 1808-1879- Don Quixote on horseback; pen and brown ink on paper, signed with initials 'h.D' (lower right), 21 x 17 cm. Provenance: as recorded in the Daumier Register, the collection of Count Z. Myzielski. as recorded in the Daumier Register, the collection of Harry J. Spiro, USA. Private Collection, UK. Literature: Maison, K.E., Honoré Daumier: Catalogue Raisonné of the Paintings, Watercolours and Drawings, vol. 2 (Greenwich, Conn., 1968), plate 143. Laughton, Bruce, The Drawings of Daumier and Millet (New Haven and London, 1991), p. 183, 1991. Daumier Register online, no.10422. Note: Daumier was a renowned painter, draughtsman and caricaturist, known for his humorous though also often poignant and realistic portrayals of life in nineteenth-century France. While best known, both during his lifetime and after, for his politically and socially critical cartoons, which were widely circulated in magazines such as Le Charivari and La Caricature, Daumier also achieved some acclaim among his own circle as a painter, with the writer Honoré de Balzac (1799-1850) remarking: "there is a lot of Michelangelo in that fellow." A multifaceted artist, Daumier also worked in the medium of sculpture, and a number of his painted clay caricature busts of politicians and society figures are in the collection of the Musée d'Orsay, Paris, where many of the artist's sketches are also held. Daumier appears to have been fascinated by the literary subject of Don Quixote and often turned to Miguel de Cervantes' early 17th-century epic novel for inspiration, creating over sixty drawings and paintings featuring Don Quixote and his squire Sancho Panza roaming the Spanish plains. The Daumier Register compares the present drawing to a number of other known examples, including one recorded in the Armand Hammer Daumier and Contemporaries Collection (Los Angels CA, accession no. AH.1990.1.4588). Daumier also shows Don Quixote in a similar pose in several of his paintings, such as the one in the collection of the Staatliche Museen zu Berlin (A I 976), in which the literary hero is accompanied by his squire Sancho Panza. The Daumier Register describes how in these works 'we see a difficult descent, in which Don Quixote is carefully leading his horse down a steep hill.'

510 

Honoré-Victorin Daumier, French 1808-1879- Don Quixote on horseback; pen and brown ink on paper, signed with initials 'h.D' (lower right), 21 x 17 cm. Provenance: as recorded in the Daumier Register, the collection of Count Z. Myzielski. as recorded in the Daumier Register, the collection of Harry J. Spiro, USA. Private Collection, UK. Literature: Maison, K.E., Honoré Daumier: Catalogue Raisonné of the Paintings, Watercolours and Drawings, vol. 2 (Greenwich, Conn., 1968), plate 143. Laughton, Bruce, The Drawings of Daumier and Millet (New Haven and London, 1991), p. 183, 1991. Daumier Register online, no.10422. Note: Daumier was a renowned painter, draughtsman and caricaturist, known for his humorous though also often poignant and realistic portrayals of life in nineteenth-century France. While best known, both during his lifetime and after, for his politically and socially critical cartoons, which were widely circulated in magazines such as Le Charivari and La Caricature, Daumier also achieved some acclaim among his own circle as a painter, with the writer Honoré de Balzac (1799-1850) remarking: "there is a lot of Michelangelo in that fellow." A multifaceted artist, Daumier also worked in the medium of sculpture, and a number of his painted clay caricature busts of politicians and society figures are in the collection of the Musée d'Orsay, Paris, where many of the artist's sketches are also held. Daumier appears to have been fascinated by the literary subject of Don Quixote and often turned to Miguel de Cervantes' early 17th-century epic novel for inspiration, creating over sixty drawings and paintings featuring Don Quixote and his squire Sancho Panza roaming the Spanish plains. The Daumier Register compares the present drawing to a number of other known examples, including one recorded in the Armand Hammer Daumier and Contemporaries Collection (Los Angels CA, accession no. AH.1990.1.4588). Daumier also shows Don Quixote in a similar pose in several of his paintings, such as the one in the collection of the Staatliche Museen zu Berlin (A I 976), in which the literary hero is accompanied by his squire Sancho Panza. The Daumier Register describes how in these works 'we see a difficult descent, in which Don Quixote is carefully leading his horse down a steep hill.'

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Spanish school; end of XVIII century. "Don Quixote". Wood and polychrome tinplate. It presents damages caused by xylophagous. Measurements: 38 x 16 x 9 cm. Sculpture made in wood and tinplate representing Don Quixote perorating, characterized with naturlism and success in his noble and naive temperament. The face is bony and stylized, with a trimmed beard that lengthens his oval. The theme of Don Quixote was very much approached in the 18th century, already from a clearly contemporary point of view, far from the comic vision popularized by the French in the previous century. The works fall within the framework of the rise of regionalism during the second half of the 18th century and the first third of the 19th century. This period saw the development of an art of romantic heritage, costumbrista and of realistic and meticulous workmanship, which focused on the representation of subjects, themes and characters that reflect a new sense of folklore. In this context, the painters sought to reflect the types and customs of their own land, which made it different and unique, thus vindicating their own roots and, above all, the traditions and ways of dressing and behaving that were threatened by the notable growth of urban areas and the imposition of new fashions brought from outside. Art, fundamentally in its pictorial aspect, thus becomes in a certain way a vehicle of expression capable of making regional peculiarities known to the rest of the nation. It presents damages caused by xylophagous.