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Une salle d'attente (The Waiting Room)

Honoré Daumier (French, 1808-1879). Une salle d'attente, 1850-1853. Oil on paper mounted on paper, support: 12 1/8 x 9 7/16 inches (30.8 x 24 cm). Collection Albright-Knox Art Gallery, Buffalo, New York; George B. and Jenny R. Mathews Fund, 1964 (1964:12).

Public Domain

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Public Domain

Image downloads are for educational use only. For all other purposes, please see our Obtaining and Using Images page.

Public Domain

Image downloads are for educational use only. For all other purposes, please see our Obtaining and Using Images page.

Honoré Daumier

French, 1808-1879

Une salle d'attente (The Waiting Room), 1850-1853

oil on paper mounted on paper

support: 12 1/8 x 9 7/16 inches (30.8 x 23.97 cm); framed: 19 x 16 3/4 x 3 1/4 inches (48.26 x 42.545 x 8.255 cm)

Collection Albright-Knox Art Gallery, Buffalo, New York

George B. and Jenny R. Mathews Fund, 1964

1964:12

More Details

Inscriptions

no inscriptions

Provenance

Paul Bureau, Paris;
May 1927, sold at Bureau Collection Sale, Galerie Georges Petit, Paris, May 20, 1927, lot 97;
May 20, 1927, purchased by A. Conger Goodyear [1877-1964] through his representative, Paul Rosenberg [1881-1959], Paris;
February 8, 1955, to the Albright Art Gallery, Buffalo;
1964, allocated to the A. Conger Goodyear Fund and purchased by the Albright-Knox Art Gallery

Class

Paintings (visual works)

Work Type

Oil painting (visual work)

This information may change due to ongoing research. Glossary of Terms

Honoré Daumier was a prolific artist and devout humanist. At a time when France was enmeshed in civic turmoil, Daumier thrived in an underground society of artists who questioned contemporary political and social mores. His strong social conscience led him to create caricatures of corrupt politicians, swindlers, and dubious rascals. However, censorship laws passed in September 1835 forced him to move away from making overtly satirical works. Instead, Daumier began to focus on less controversial subjects. The expansion of the railroads throughout France provided him with numerous opportunities to examine diverse groups of travelers thrown together by chance, especially during his frequent trips to join Jean-Baptiste-Camille Corot and other artists in northern France. Despite its sketch-like appearance, The Waiting Room is actually quite carefully structured. One large, seemingly anxious figure at the left foreground balances the receding row of seated dark figures who wait patiently. Daumier’s meticulous technique of slowly layering pigment and glaze gives his figures a tactile, sculptural quality.

Label from Monet and the Impressionist Revolution, 1860–1910, November 15, 2015–March 20, 2016

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