![]() ![]() ![]() The monumental figures, rooted in the artist’s lifelong appreciation of Rubens and Fragonard, typify his sculptural sense of form, which is especially powerful in the New York picture owing to the exposed underlayers of paint and the black lines overdrawn with the brush that embolden selected contours and details. As is typical of Daumier’s paintings, the origin of these two works is undocumented. It shares this place in his output with a similar, finished, painting that was produced more or less concurrently (National Gallery of Canada, Ottawa Maison 1968, no. Even so, The Third-Class Carriage, thought to have been executed about 1862–64 and left unfinished, marks the apogee of Daumier’s protracted engagement with the modern theme of railway travel. Daumier and Painting: In contrast to lithography, painting was generally a more personal, exploratory undertaking for Daumier, who exhibited very few oils at the official Salon. One of the prints, which bears the caption "Voyageurs appréciant de moins en moins les wagons de troisième classe, pendant l'hiver" (Travellers showing less and less appreciation for travelling in third class during the winter period), published on Decem( 62.650.310), has frequently been cited as an antecedent to The Third-Class Carriage, and there are other examples as well. Daumier’s reputation was based on trenchant caricatures rendered in black crayon that were widely reproduced as lithographs, including the series Les Chemins de Fer (The Railroad), which first appeared in the periodical Le Charivari between 18. They are by turns stoic, resigned, and dispirited gregarious, bored, or exhausted. Daumier’s passengers may register surprise or digust. His focus was not on the conveyances themselves but on the reactions of people adapting to conditions that were often uncomfortable and unfamiliar. He began depicting scenes of public transport-trains, stations, omnibuses-as early as 1839. Daumier and Public Transport: Daumier was a keen observer of the effects of industrialization on the working classes of Paris. ![]()
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