Art History
Presenter: Welcome. Welcome, to the national radio, bringing you the latest news, and updates. Today we have a special guest speaker, all the way from France... I am happy to present Mr. Daumier, the famous 19th century painter.
Daumier: Bonum mane, hello... It’s a pleasure to be here.
Presenter: Today our fans want to ask you a few questions about some of your paintings and the media you have used.
Daumier: Well of course.
Daumier picks up his water and takes a small sip.
Presenter: The first painting our viewers are interested in, is your print Gargantua.
Daumier clears his throat.
Daumier: Ah yes, one of my finest caricatures.
Presenter: So, Mr. Daumier you are known as the Michelangelo of Caricatures, why is this?
Daumier: Well, of course, as I use the process of lithography, which allows for quick, sketchy images that convey the sense of movement allowing my work to capture the unrehearsed moment. This is seen in Gargantua, with the diagonal line of the bridge leading your eyes upwards to the kings open mouth, which helps to create movement in the static image and the sense of a candid moment. This emphasizes the “raw energy, spontaneity and candor”-(http://www.artble.com/artists/honore_daumier/more_information/style_and_technique) through out the image.
Presenter: What processes do you use to create your lithographs?
Daumier: I first make a series of rough drawings, and then they are transferred onto limestone with a greasy tusche, by the use of red crayon, allowing the drawing to become visible. I have to make sure the limestone is flat; to do this I grind the stone to get the level of grit I require. To make sure that it is flat I grind it against another stone, if it is not flat it will break under the pressure of the press. To get a three dimensional effect I hatch my lines, and continually build them up to create shadow and depth. This is acquired by using line work, etched in by a sharp object. For example you can tell
Daumier: Bonum mane, hello... It’s a pleasure to be here.
Presenter: Today our fans want to ask you a few questions about some of your paintings and the media you have used.
Daumier: Well of course.
Daumier picks up his water and takes a small sip.
Presenter: The first painting our viewers are interested in, is your print Gargantua.
Daumier clears his throat.
Daumier: Ah yes, one of my finest caricatures.
Presenter: So, Mr. Daumier you are known as the Michelangelo of Caricatures, why is this?
Daumier: Well, of course, as I use the process of lithography, which allows for quick, sketchy images that convey the sense of movement allowing my work to capture the unrehearsed moment. This is seen in Gargantua, with the diagonal line of the bridge leading your eyes upwards to the kings open mouth, which helps to create movement in the static image and the sense of a candid moment. This emphasizes the “raw energy, spontaneity and candor”-(http://www.artble.com/artists/honore_daumier/more_information/style_and_technique) through out the image.
Presenter: What processes do you use to create your lithographs?
Daumier: I first make a series of rough drawings, and then they are transferred onto limestone with a greasy tusche, by the use of red crayon, allowing the drawing to become visible. I have to make sure the limestone is flat; to do this I grind the stone to get the level of grit I require. To make sure that it is flat I grind it against another stone, if it is not flat it will break under the pressure of the press. To get a three dimensional effect I hatch my lines, and continually build them up to create shadow and depth. This is acquired by using line work, etched in by a sharp object. For example you can tell