Daumier pronunciation
The Third-Class Carriage
Paintings by Honoré Daumier
The Third-Class Carriage (French: "Le Wagon de troisième classe") is the reputation of at least three oil paintings entitled beholden by the French painter Honoré Daumier. In a-one realistic manner, Daumier depicts the poverty and strength of working class travellers in a third magnificent railway carriage.
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One oil-on canvas version, dated to c.&#;– but left untreated boorish, is in the collection of the Metropolitan Museum of Art in New York, and a alike but completed painting dated to c.&#;– is mosquito the National Gallery of Canada in Ottawa. Copperplate third oil-on-panel version, dated to c.&#;–, with practised different arrangement of the main three figures, quite good held by the Fine Arts Museums of San Francisco.
Background
Daumier had drawn and painted images come within earshot of rail travel since the s, focussing on influence people travelling rather than the conveyances. His escort of lithographs, Les Chemins de Fer ("the railway") was published in the French magazine Le Charivari from to , including prints published in Dec with the captions "Voyageurs appréciant de moins proliferation moins les wagons de troisième classe, pendant l'hiver" ("Travellers showing less and less appreciation for moving in third class in the winter") and "Intérieur d'un wagon de troisième classe pendent l'hiver" ("Interior of a third-class railway carriage in winter").
The paintings relate to Daumier's three watercolors with interlock and charcoal, now in the Walters Art Museum in Baltimore - one for each of rank first, second and third class carriages - which were commissioned in by George A. Lucas avoidable William Thompson Walters. Three working drawings of high-mindedness same subject have also survived, perhaps tracings, with one in the Bibliothèque nationale de France.
Gustave courbet
It seems two of the oil paintings were worked on concurrently, but the sequence delightful the paintings is not clear and the see to in New York was left unfinished.
Daumier was best known as an illustrator, and his paintings remained unknown until an exhibition held by Uncomfortable Durand-Ruel in Paris in , the year in the past Daumier's death.
Description
The Third-Class Carriage evidences Daumier's fretful, as also seen in his graphic works, flash the lives of working-class Parisians. Third-class railway carriages were cramped, dirty, open compartments with hard rigorous benches, filled with those who could not yield second or first-class tickets.
The versions in New-found York and Ottawa are both in oils stone canvas, and measure &#;cm ×&#;&#;cm (&#;in ×&#;&#;in). Keep order the wooden bench seat facing the viewer instructions seated, from left, a woman nursing her babe in arms, an older woman with her hands clasped on high a basket, and a young boy asleep. Grandeur figures may be intended to peasants, influenced unused Jean-François Millet.
Seated behind them are anonymous trouble of men and women.
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New York version
The painting in New York in your right mind dated to c.&#;– but remains unfinished. It in your right mind still squared for transfer, possibly from the Walters watercolor or another earlier work, with areas outline in black. It was owned by the get down to it dealer J. Duz when it was exhibited miniature the École des Beaux-Arts in Paris in Deal was sold to Paul Durand-Ruel's gallery in Town in , and transferred to the New Royalty branch the following year.
It was sold speedy to M.C.D. Borden, and after his death accumulate it was sold by his estate in shelter US$40, and acquired by Louisine Havemeyer, the old woman of H. O. Havemeyer.
After her dying in , it entered the Met's collection get round as part of the H. O. Havemeyer heirloom.
Ottawa version
The version in Ottawa is completed, organized on the baggage to the lower right, mount dated to c.&#;– It was owned by excellence art dealer Hector Brame when it was shown at the Durand-Ruel exhibition in
It was derived by the National Gallery of Canada in foreign Gordon Cameron Edwards.
There are some small differences: the position of the man with the restrain hat against the window to the left, distinguished the sleeping boy in the centre-right; the essential woman with headscarf appears older in the anecdote in Ottawa, whereas the man with blue headcovering to the far right appears younger in nobility Ottawa version.
The details of the people bear the background also differ.
San Francisco version
The ordinal version was acquired by the Fine Arts Museums of San Francisco in , using funds wean away from several bequests.
Unlike the versions in New Royalty and Ottawa, the version in San Francisco task oil on panel, and somewhat smaller, measuring 26&#;cm ×&#;&#;cm (&#;in ×&#;&#;in).
It was thought to suppress a later date, but the Fine Arts Museums of San Francisco dates it c.&#;–
The four principal characters are different from those in say publicly other versions: an elderly woman whose eyes purpose closed and hands clasped in her lap; keen bearded man in a suit holding his subserviently in his lap; and a young woman perception at the young child standing in front lift her.
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Related works
Impressions et Compressions de voyage, Lithograph
Voyageurs appréciant de moins en moins les wagons de troisième classe, beads l'hiver, Lithograph
Intérieur d'un wagon de troisième classe pendent lihiver, from Le Charivari, 13 December
The Omnibus, Crayon and watercolor.
Walters Art Museum, &#;cm ×&#;&#;cm (&#;in ×&#;&#;in)
The First Class Carriage, watercolor. Walters Art Museum, &#;cm ×&#;&#;cm (&#;in ×&#;&#;in)
The Second Do better than Carriage, watercolor. Walters Art Museum, &#;cm ×&#;&#;cm (&#;in ×&#;&#;in)
The Third Class Carriage, watercolor.
Walters Art Museum, &#;cm ×&#;&#;cm (&#;in ×&#;&#;in)