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Honoré Daumier or Imitator of Honoré Daumier
French, 1808–1879
An Artist
c. 1870–75
Medium
oil on canvas, mounted on panel
Dimensions
13 15/16 x 10 5/8 in. (35.4 x 27 cm)
Object Number
1955.697
Acquisition
Acquired by Sterling and Francine Clark before 1955
Status
Off View
Image Caption
Honoré Daumier or Imitator of Honoré Daumier, An Artist, c. 1870–75, oil on canvas, mounted on panel. Clark Art Institute, 1955.697
Select Bibliography
Richard R. Brettell. Impression: Painting Quickly in France, 1860-1890. New Haven: Yale University Press in association with the Sterling and Francine Clark Art Institute. 2000.
Amsterdam, Stedelijk Museum. A Hundred Years of French Painting/Hondred Jaar Franschekunst. July 2-Sept. 25, 1938..
Sterling and Francine Clark Art Institute. Exhibit Five, Supplement: South Gallery. Exhibition catalogue. Williamstown, MA: Sterling and Francine Clark Art Institute, 1959.
Sterling and Francine Clark Art Institute.. Exhibit Nineteen: Daumier.. June 1962..
Sterling and Francine Clark Art Institute.. In the Studio: The Making of Art in 19th-Century France, Sept. 12-Oct. 25, 1981. Cat. by David B. Cass.
Ottawa: National Gallery of Canada.. Daumier, 1808-1879. June 3-Sept. 6, 1999; Musée d'Orsay, Oct. 5, 1999-Jan. 3, 2000; Phillips Collection, Washington, Feb. 19-May 14, 2000. (Cat. by Henri Loyrette.)
National Gallery, London. Impression: Painting Quickly in France, 1860-1890. Nov. 1, 2000-Jan. 28, 2001. Van Gogh Museum, Amsterdam, March 2-May 20, 2001; Sterling and Francine Clark Art Institute, Jun. 16-Sep. 9, 2001. 2000. (Clark only).
Erick Klossowski.. Honoré Daumier.. Munich: R. Piper.. 1923..
Eduard Fuchs.. Der Maler Daumier.. Munich: R. Langen.. 1927..
Lionello Venturi.. Modern Painters.. New York: Scribner's.. 1947..
Arts Council of Great Britain.. Daumier Paintings and Drawings. Tate Gallery.. June 14-July 30, 1961..
. "Exhibit of Daumier Work Opens at Clark Art Institute.. North Adams Transcript.. June 2, 1962..
M.-L. D'Ortrange Mastai.. "The Connoisseur in America.". 151:609.. The Connoisseur.. Nov. 1962..
Aymar, Gordon C. The Art of Portrait Painting. Philadelphia: Chilton Books,1967.
Sterling and Francine Clark Art Institute. List of Paintings in the Sterling and Francine Clark Art Institute. Williamstown, MA: Sterling and Francine Clark Art Institute, 1970.
Gabriel Mandel.. L'opera Pittorica Completa di Daumier (Classici dell'Arti series).. Milan: Rizzoli.. 1971..
Sterling and Francine Clark Art Institute. List of Paintings in the Sterling & Francine Clark Art Institute. Williamstown, MA: Sterling and Francine Clark Art Institute, 1972.
Karl-Heinz Janda.. "Max Liebermann als Kunstsammler.". Band 15.. Forschungen und Berichte. Berlin: Staatliche Museen zu Berlin.. 1973..
Judith Savage.. Daumier's People (filmstrip).. London: BBC.. 1975..
Sterling and Francine Clark Art Institute. List of Paintings in the Sterling and Francine Clark Art Institute. Williamstown, MA: Sterling and Francine Clark Art Institute, 1984.
Kern, Steven, ed. List of Paintings in the Sterling and Francine Clark Art Institute. Williamstown, MA: Sterling and Francine Clark Art Institute, 1992.
Karl Eric Maison.. Honoré Daumier: Catalogue Raisonné of the Paintings, Watercolors and Drawings.. I.. London: Thames and Hudson.. 1968..
Lees, Sarah, ed. Nineteenth-Century European Paintings at the Sterling and Francine Clark Art Institute. Williamstown, MA: Sterling and Francine Clark Art Institute; New Haven and London: distributed by Yale University Press, 2012.
[Gaston Alexandre Camentron, Paris, d. 1919]; Hermann Eissler, Vienna; Max Liebermann, Berlin (by 1927–d. 1935); Martha Liebermann, Berlin, his wife, and/or Mrs. Kurt Riezler (Käthe Liebermann), Berlin and New York, his daughter, by descent (from 1935, until at least 1938;¹ [Galerie André Weil, Paris]; [Knoedler, New York, sold to Clark, 1 Nov. 1944]; Robert Sterling Clark (1944–55); Sterling and Francine Clark Art Institute, 1955.
1. Edward Fuchs, Der Maler Daumier, 1927, p. 46, published the painting as already belonging to Max Liebermann. According to Janda 1973, p. 122, Liebermann deposited this and a number of other paintings at the Kunsthaus Zurich in Sept. 1933, where they remained for several years. A letter to the Kunsthaus Zurich from Walter Feilchenfeldt of the Paul Cassirer gallery, dated 2 May 1933, lists this work among those to be deposited, and it was no. 3 on the Kunsthaus deposit list; see Vienna 1997–98, pp. 239–40. At Liebermann’s death in 1935, ownership passed either to his widow or to his daughter, Käthe, wife of Kurt Riezler, a philosopher and political theorist. The pictures, including this one, were sent to Amsterdam for exhibition from July to September 1938, after which, again according to Janda, they were returned to Riezler. The Riezlers emigrated to New York in December 1938 but retained possession of their collection; see Wayne C. Thomson, In the Eye of the Storm: Kurt Reizler and the Crises of Modern Germany 1980, p. 217. A number of works from the collection were sold or donated at about this time; this was probably approximately when this picture was sold to André Weil.
