Spenser:
http://dcoll.brandeis.edu/bitstream/handle/10192/4791/LD84.jpg?sequence=1
http://dcoll.brandeis.edu/bitstream/handle/10192/4791/LD84.jpg?sequence=1

This picture is called Repos de la France.  In this picture, Philip is shown resting in a casual way on his throne. Marianne and the rooster, symbols of France, are in the background looking tired and depressed.  This picture grabbed my attention because it does not look like he has a head.  It is very relaxed and he looks as if he is sleeping.

 

http://dcoll.brandeis.edu/bitstream/handle/10192/2350/LD198.jpg?sequence=1
This picture is called Les intrépides.   In this picture, three supporters are outside in the rain during the July celebrations.  What captured my attention in this picture the different shapes of the three soldiers.  The person on the left is almost in a shape of a square.  The second one is really skinny and finally the soldier to the right is very round.  I also found it interesting that the soldiers were outside in this severe weather.

Daniel:

    
I chose this lithograph because it relates to the “banquets” that Barzun discussed.  The reform groups had these “banquets” while discussing future actions against the government.  In this lithograph, a servant (who may represent the reform groups) is bringing food to the rebels.  The food is in the shape of a pear, or Louis Philippe, which symbolizes the change, or destruction, which the reform groups were planning.

 


I chose this lithograph because it could relate to the two popular views of reform that developed during the end of Louis Philippe’s reign.  The first would be the Liberal side which wanted political changes similar to England’s parliament.  The second would be the Socialist side which wanted economic changes in order to improve the country and its people.

Emily:

 

 

 

 

 

 

 

The title of this painting is Le passé. -Le présent. -L'avenir. As described in the painting, the face to the left represents the happiness of the French past, the face in the middle represents the concern for the present, and the face to the right represents Philippe’s depression when looking toward the future. The reason that Philippe had a depressed face that turned toward the future was because Philippe probably knew of his unpopularity and was concerned for France, because he ended up to be the last king of France. His happiness remained in his past life when he was a successful solider in the military, and he was called the citizen king with his popularity amongst the people. The depressed and concerned faces also might represent what Barzun was stating in “The Mother of Parliaments.” representing the depression of the people, because Parliament was not serving the interest of the common folk, but they were only concerned with trade, the church, and politics.



 

 

 

 

 

This portrait was very interesting, because Daumier painted all of these caricatures of statesmen or men in government service to Louis Philippe. It is funny to see that yet again in Masques de 1831, Daumier represents Philippe as a pear among all of these other politicians. It seems that Daumier uses the transition of Philippe becoming a pear as a way to symbolize his rising unpopularity with the common people, as Barzun states. It is surprising though, that none of his cabinet, or men who worked under him were depicted as fruits or vegetables, because I would think that with Philippe’s unpopularity that his council would be unpopular as well.

Kim:

            Daumier clearly shows the pear motif in Jugement après la mort.  The shape of the tombs holding Louis Phillipe’s remains are obviously pear shaped and the scrunched face representing his remains portrays what Daumier must have found to be a hideous personality and a grumpy demeanor.  Also in the scale being held up a pear can be seen on one end of a clear unbalance. 


Gros, gras et—constitutionnel also shows the pear motif in the shape of Louis Phillipe making the intent very apparent in his hat that represents a stem.  I feel as though the food and drink next to him could represent a habitual overindulgence on Louis’ part and the brim over his eyes could represent his blindness towards the needs of the people. 

            When reading The Mother of Parliaments I found it interesting that at the time these paintings were being done the book writes that, “what should not pass unnoticed is that the start of social legislation, beginning with the New Poor Law and going on to the control of labor conditions, required two devices that must be called epoch making, not to say ominous: inspectors and statistics.”  Firstly, this is interesting because during a time of such social unrest and struggle Louis Phillipe is apparently spending his time eating and drinking and having ornate tombs made for himself.  This is clearly not the action a good leader would take.  The people were spending their lives living by statistics and submitting to machines while people like Louis Phillipe were living ornate and selfish lives.  The Mother of Parliament reads that “unrest had been visibly growing for half a dozen years” under the monarchy of Louis Phillipe and in response to this Daumier put out weekly lithographs that “caricatured the king and his adherents, giving his face the shape of a pear and showing up the doings and the clichés of the middle-middle class as tawdry and dull.”  Louis Phillipe was overthrown after 18 years of ruling.

Dan D:


In this lithograph titled, Jugement après la mort Louis Phillipe is clearly shown in the shape of a pear but as a mummy in a sarcophagus, this could be saying how is time as a ruler is over and what he represents is old and dead. The person on the right who looks like a worker is holding a scale; it shows a pear on one end and what looks like a hat on the other. The hat is shown to be much heavier than the pear; this is saying that what the hat represents, presumably the people, is much more important than Phillipe (the pear). Barzun discusses how as societies become more industrialized, political groups become more and more complex and varied, that people are satisfied with a government for an extremely brief period of time and desire change more often. This results in almost an indistinguishable kind of government where issues and ideas are constantly changing and varying in importance. Barzun’s writing is represented in this lithograph in that even though Phillips was put in place via revolution and promised change himself, very rarely does this actually happen and even if it does there will always be a large segment of the society that wants something completely different. Here Daumier shows Phillipe’s way of ruling as old and dead and that the power of the people is much more than his.

I chose this particular Lithograph titled, Gros, gras et—constitutionnel because I immediately saw the pear when looking at it as a thumbnail. The hat he’s wearing seems to be saying constitutionnel which I am guessing has something to do with a Constitution, I believe that here Daumier is saying that Phillipe has no care for his country and is using the Constitution as a sleeping hat. I believe the food also may be a way of showing the things he has that the people don’t, that he has excessive luxuries and privileges. This relates to Barzun’s writing in that these pieces were very popular among the public and represented the feelings of the majority of the people, that the ruling class and those in charge were lazy and did not have the law or their interests in mind, here Phillipe is sleeping behind the law.

Giovanna: Jacques Barzun on pages 526-7 talks about heroes in the general sense, but makes a point to repeat when Carlyle says about heroes. Carlyle says, "that it is the thinker and the writer who is the needed hero now, the leader through ideas and words." Until pages 526-7, Barzun talks about how people want to be individuals. And this theme is seen again on page 543 when Daumier is mentioned. Barzun talks about Daumier's painting "The Third Class Carriage" he talks about how it accurately depicts the effects of the wants of European people on the Americans. "Today, "the train" evokes only charmless convenience in Europe and overlong discomfort in the United States". Or does Barzun want to make this connection? Barzun, in that same paragraph, mentions that Tolstoy's thought railroads were evil. I think Barzun uses Daumier's painting to highlight that they are in fact evil. In a sense Daumier promoted the use of the railroad when he painted a picture that glorified them. But, doesn't this make Daumier look bad? Another thing about Daumier's painting is that it also goes along with the individualism theme. If people are no longer physically tied to their homes, but can freely move throughout regions they have the potential to lose the sense of community that is fostered when they live in a community and gain a sense of individualism because they are not in a communities where boundaries are not placed on a person. Daumier is mentioned again on page 548 of Barzun. I'm not quite sure if Barzun likes Daumier just from the way he phrased his sentence about him. The two lithographs I found most interesting are: "Pot de vin, arrestations arbitraires" and "Masques de 1831". Both these lithographs have the pear motif. One shows Louis Philippe hiding the wrong-doings of his cabinet and the other shows Louis Philippe with a pear shaped head and his cabinet members faces caricatured.

Stephanie:

This image is mocking the dangerous nature of Louis Philippe’s reign. This could also be seen as the fight of the two different views that came about during his reign. One side wanted social and economic change, to change the people and their country and they were called Socialists. The other side was Liberal and wanted changes to parliament similar to England’s Parliament. This was interesting to me because it is like the two men on the bottom are struggle to push Louis Philippe to the others side. It seems almost like a fight over power with Louis Philippe in the middle of the fight.

http://dcoll.brandeis.edu/bitstream/handle/10192/2743/LD235.jpg?sequence=1
This image is of an actor wearing the mask of Louis Philippe. The actor is trying to make fun of Louis Philippe because he is standing on what looks like a charter with the top hat being removed and a royal hat on his head. The actor is also portrayed in the shape of a pear, like most other lithographs of Louis Philippe are portrayed as. What caught my eye in this painting was the “making fun” of Louis Philippe the artist was trying to do.

Kristina:


Title: Jugment apres la mort 1835
Author: Daumier, Honore
Abstract: Louis-Philip is depicted as a mummy. A man is holding a scale where the frigian hat is heavier than the pear. The pear represents Louis-Philip.



Title: POT-DE-NAZ, 1833
Author: Daumier, Honore
Abstract: Joseph, Baron de Podenas was a politician. His proportions were an easy prey to Daumier's art: A rather shapeless head topped by a strange looking tuft of hair. Podenas was defeated in the elections of 1834 and lost his seat as Deputy for Narbonne, which he had held since 1829. Podenas is shown here with a pear shaped head showing a striking similarity to Louis-Philippe. There is a play on words with his name and "Pot de Naz" meaning nose pot.

Katie:
This picture by Daumier is one of his many classic pear motifs of Louis Philippe.  Two men seem to be conversing outside in what seems to be a city.  I choose this work because the background of this piece of art reminds me of the area just before WPI near College Square (I think).

 

 

 

This picture is called Les intrépides.   In this picture, three people seem to be out in the rain.  The thing that stood out the most to me in this work was the soldier all the way to the left in the picture.  It seems as though he is turning back to hurry the others along, but does not seem to be having a whole lot of success.   

This is called Marie-Louise-Charlotte-Philippine Pairie, fille soumise & patentée par la police.’  This is a work that depicts Louis Phillippe as a very large man who seems not to be caring much about anything but himself..  He is putting something into a bag labeled “nation” but doesn’t seem to be focusing on it.  This leaves me with the impression that he did not care much about the nation in general.

 

 

Michael:
POT DE VIN.
In choosing this lithograph one can see that force in order to create legitimacy is a necessity. In the reading  it states that force is the only way ironically to create legitimacy, in this case the entourage is corrupt, without law because they are shrouded by the protection of their king, in order too overthrow this corruption force is needed.

Title

Judgment après la mort.

 This lithograph is a particularly good one. In Egypt it was believed that Osiris weighed ones heart and their deeds before letting one into the afterlife. If they were a bad person their hearts would be discarded into a pit of gators. In this depiction Louis weighs less then the Phrygian cap which symbolizes freedom and religious freedom. This, once again, alludes to the loss of favor with the public, and the want for a higher individual freedom.

Zach:
Here a common man is presenting a scale to King Philippe with a pear on it weighting more then a hot. The king himself is also in the shape of a pear.

 

 

 

 

 

  Here a pear in a fancy suit is walking a tight rope and loosing its balance while walking away from what appears to be a French castle.

 

 

 

 

 

 

 

 

 

In this caricature is of a pear that I would assume is also meant to represent King Philippe because it is wearing a royal cape. Under the cape the pear is protecting what appears to be the common people?

 

 

 

Steve:
http://dcoll.brandeis.edu/bitstream/handle/10192/2269/LD1909.jpg?sequence=1

http://dcoll.brandeis.edu/bitstream/handle/10192/1730/LD137.jpg?sequence=1

http://dcoll.brandeis.edu/bitstream/handle/10192/2677/LD229.jpg?sequence=1

Haley:
http://dcoll.brandeis.edu/bitstream/handle/10192/4713/LD77.jpg?sequence=1 
In this picture you can see the shape of Louis head is similar to that of a pear yet again. In this picture he is looking at paintings of famous battle that was won. This is insinuating that he is almost jealous of them because he has no yet won a battle and is known as a bad leader.

 

http://dcoll.brandeis.edu/bitstream/handle/10192/1730/LD137.jpg?sequence=1
 In this picture of Marthe Camille Bachasson, a man who Louis appointed interior decorator. He decorated the kitchens and this is a picture of him holding a platter with a pear with the facial features of Louie on it.

http://dcoll.brandeis.edu/bitstream/handle/10192/4331/LD42.jpg?sequence=1
   These are “masks” of all the leaders as you can see they each have distinct features. You can see the most distinct is Louie in the middle where he exactly portrayed as a pear.

Jaime:
Jaime Vona                                                                                                                                HIS
2/16/10

 

 

 

 

 

 

This caricature is called Mr Chose, premier saltimbanque d’Europe done by Honore Daumier in 1833.  In this drawing, Louis Philippe is being compared to a pear. In this time, a pear meant a “fool.” Here, Louis Philippe is shown losing his balance walking on a rope. The rope signifies his escape from the city of Paris when the citizens become enraged with his rule and want a new king. The title indicates that Louis Philippe is walking over a river or body of water to escape from the furious London citizens.

 

 

 

 

 

 

 

Honore Daumier drew this drawing in 1833. It is called Mr. Montaugibet, en patissier-gate-sauce. This picture depicts Marthe Camille Bachasson, the head of all the kitchens in the castles of Louis Philippe’s power, carrying food. In order to avoid censorship, Daumier uses a pear to symbolize King Louis Philippe. Since he was a king, Louis Philippe had everything made for him and he got whatever he wanted. However, his reign became so terrible that even his personnel started to show their disgust for him.

 

 

 

 

 

 

 


In this lithograph Philippe mon pere, ne me laissera donc plus de gloire, in 1834, Honore Daumier gives the viewer a vivid image of Louis Philippe’s son. Notice Louis Philippe’s son’s pear-shaped head. Showing the “like father like son” cliché, Daumier compares Louis Philippe to his son and shows that they are both “fools.” His son is wondering if he can win battles, just like the ones he is viewing in the caricature.  Knowing that he will take over for his father, Louis Philippe’s son becomes determined to carry on the family legacy and fulfill his duty as a king. Unfortunately, just as the picture depicts, Louis Philippe’s son carries on the family trend of “foolishness.”

Tom:


‘Marie-Louise-Charlotte-Philippine Pairie, fille soumise & patentée par la police.’

 


‘Mr. MONTAUGIBET, en patissier-gâte-sauce.’

Laura:


September 7, 1834

I picked this picture because I liked how it depicted Louis Philippe as a huge pear, not just his head as a pear, wearing a cloak that resembles a king’s cloak. I liked it because it shows him using the cloak as a way to cover up all the wrongdoings of his followers.



February 7, 1833

I picked this picture because I thought it was comical. It’s funny that even a pregnant woman like this lady shown in the picture, is worried that she could have a child like Louis Philippe. This picture shows how much he was disliked by the people and how scared women were to have a child be like him or look “pear” shaped like him. 

Barzun’s “The Mother of Parliament” says that Philippe believed in order, which he interpreted as “let-things-alone.”  In Europe economic depression was widespread with the Irish famine and England’s “Hungry Forties.” In France it was a time of bad harvests and bad times for industries which caused much distress. Louis Philippe was supported mainly by the upper bourgeoisie, and because he was unresponsive to the economic needs and political desires of the growing industrial classes, reform groups organized banquets against the government. The Paris press kept critiques of it in word and pictures. As seen every week, Daumier’s lithographs caricatured Philippe as a pear. Through these pictures by Daumier we see that many disliked Louis Philippe and often depicted him with the head of a pear or like these picture show a whole body of a pear, maybe because of a certain natural resemblance, but more likely because the word pear meant fool in France.  Supported mainly by the upper bourgeoisie, he was unresponsive to the economic needs and political desires of the growing industrial classes.

Chelsea:


      This painting is called “Les Intrépides” and was created by Daumier.  He incorporates his “pear” theme by shaping the man towards the left into the shape of a pear and also the man all the way to the right.  Daumier was painting during a period where a lot of people were upset about the political state of the country.  By him displaying these political figures as pears, he was participating in publicly stating his concerns about the government.

 

            This paintings title is “Trois Principicules Tires d'un Tableau Philippard—and was created by Daumier.  In this painting, Daumier incorporates his “pear” theme by shaping the head of the man all the way to the right into the shape of a pear.  I chose this painting as one of my choices because I really liked how the pear motif was a little more hidden.  It was right in your face and was a little less noticeable by having just the head of the man shaped like a pear rather than his entire body.  Daumier’s paintings go along with the time period because his paintings portray the political figures as fools.  During this time period most people were angry about the political state of the country. 

Emma:


“Repose de la France” by Daumier 1834. In the background are Marianne and a rooster, both of which are symbols of France, are clearly visible. They both look tired, worn down, and depressed, which perhaps is a reference to the fact that the French people were tired of their current conditions and way of life. Louis is shown sitting in the throne relaxed and asleep with a hat over his eyes. This may be the artist’s way of calling Louis Philippe lazy and unaware of what is going on.

 


“Gros, gras et—constitutionnel.” By Daumier in 1833.
This second lithograph of Louis Philippe again shows him sleeping with a hat partially covering his face. Louis looks so deep in sleep that the artist has made him look very obviously lazy and inattentive. The food and wine next to him could also be the artist’s way of calling Louis fat, excessive, and an alcoholic.

Kara:

http://dcoll.brandeis.edu/bitstream/handle/10192/1894/LD152.jpg?sequence=1
I chose this piece which depicts a politician, Joseph Baron de Podenas. I thought his features looked quite interesting, all of his facial features are quite sharp and over exaggerated. It also looks quite similar to the first picture we saw in class. “Pot-de-naz” also has a pear shape, however it is less defined than that in the first picture. His whole body creates a pear outline, with his full face and hair being the upper portion of the pear while his robust upper half creates the fuller, bottom part of the pear.

http://dcoll.brandeis.edu/bitstream/handle/10192/1874/LD150.jpg?sequence=1
I found this piece interesting because you can “see a pear” two ways. If you were to flip his head upside down, it would be pear shaped. I think the balding of his head helps to make the pear shape “stick out” more so.  The pear shape also appears if you look at the whole portrait, with his head being the top and body being the bottom.  The information given about the man says he was a politician and writer and that the pear shape was shown to symbolize his political affiliation to King Louis-Philippe. Perhaps the double pear shape was on purpose to symbolize something deeper about him or his being a writer and politician.

Tiffany:

http://dcoll.brandeis.edu/bitstream/handle/10192/2137/LD176.jpg?sequence=1
I chose Daumier’s piece named,  “Gros, gras et—constitutionnel” because the man sitting in the chair with his hands in his sleeve clearly takes the shape of a pear.  The French slang term “pear” also meant “fool.”  The man pictured above looks like he has been sleeping, and the little table to his right seems to have food and drink available for the man.  When I see this picture, I get the impression that the man is very lazy because of his posture and his surroundings.

 

http://dcoll.brandeis.edu/bitstream/handle/10192/2405/LD203.jpg?sequence=1
This is Daumier’s artwork titled, “Etienne-Joconde-Cupidon-Zéphir Constitutionnel.”  This pear-shaped person resembles Louis-Philip.  The hat he is wearing is also the same hat pictured in the first picture I analyzed.  This shows similarity in Daumier’s artwork, and that he really felt strongly about humiliating Louis-Philip by portraying him in a shameful manner. The fact that he is depicted as wearing nothing but socks and a cupid costume shows his unattractive side and how he is failing at romance.  He has his hat pulled over his eyes showing that he is not alert.  Daumier does a good job of showing how Louis-Philip is a “fool” in this image.

Ryan:

                  Link to Picture:   http://dcoll.brandeis.edu/bitstream/handle/10192/2677/LD229.jpg?sequence=1

Link to Picture:
http://dcoll.brandeis.edu/bitstream/handle/10192/1730/LD137.jpg?sequence=1

Works Cited

Barzun, Jacques. From Dawn to Decadence 500 Years of Western Cultural Life 1500 to the Present. New York: Harper Perennial, 2001. Print.

"Jugement après la mort." Brandeis Institutional Repository - Home. Web. 16 Feb. 2010. <http://dcoll.brandeis.edu/handle/10192/2677>.

"Mr. MONTAUGIBET, en patissier-gâte-sauce." Brandeis Institutional Repository - Home. Web. 16 Feb. 2010. <http://dcoll.brandeis.edu/handle/10192/1730>.

Brenna:
http://dcoll.brandeis.edu/bitstream/handle/10192/2848/LD245.jpg?sequence=1 <https://fe.assumption.edu/exchweb/bin/redir.asp?URL=http://dcoll.brandeis.edu/bitstream/handle/10192/2848/LD245.jpg?sequence=1>
In this picture Louis Philippe is being shown in a humorous way.  He acts like he is the boss and needs to be obeyed.  In order to show this power he beats a child.  To me this doesn't exactly show how powerful or manly someone is.  It is also funny that behind him another child is drawing a pear on the wall.  He is being compared to the pear like in the original sequence drawing.  It is funny because he is being made fun of by children which portrays him as anything but strong and powerful.

http://dcoll.brandeis.edu/bitstream/handle/10192/1981/LD161.jpg?sequence=1 <https://fe.assumption.edu/exchweb/bin/redir.asp?URL=http://dcoll.brandeis.edu/bitstream/handle/10192/1981/LD161.jpg?sequence=1>
This picture is of a pear dressed as Louis Philippe.  The pear is walking on a tight rope and losing his balance over the water.  It shows how Philippe was on a fine line while he was in power and didn't have much room for failure.  When Philippe ignored the economic needs of the people he began to stumble and fall like in the picture.
These pictures definitely relate to The Mother of Parliament reading from Barzun.  In the reading it states, "the nation shall be dedicated to individualism-everyone free to act as he sees fit in all ways that do not infringe the rights of others, whether taken separately or as the whole nation.” Philippe did what he believed was best for the country but is was not as helpful as he thought it was going to be.  He eventually began to lose support because he did not listen to his people or the economic needs of the country.  The first drawing of him as a pear started because not only was he shaped like one but because he was boring and influenced his people as much as a pear might influence them; not very much.

Meghan:

http://dcoll.brandeis.edu/bitstream/handle/10192/2269/LD1909.jpg?sequence=1                 
In this drawing, Louis Philippe is shown looking out passed his people through a telescope. Louis Philippe has a pear shaped body; especially with the hat that he is wearing that gives his head a pear shape. Also in the picture, the people surrounding Louis Philippe are holding flyers portraying him with a pear shape.
http://www1.assumption.edu/users/mcclymer/clip_image002_0014.png
In this drawing by Daumier, a man who may ot may not be a member of Louis Philippe’s staff, is carrying a platter with giant pear. This pear is meant to portray Louis Philippe. The pear was meant to be a censored symbol for  a fool.
http://www1.assumption.edu/users/mcclymer/clip_image004_0011.png
This picture by Daumier portrays a giant pear wearing a royal cape. Underneath the cape are many of the people of France. This drawing symbolizes Louis Philippe as the pear and the people under his cape symbolize the people that were forced to live under his reign.

Jennifer R.:

This is a lithograph of Duc de Bassano, Joseph Marie Comte Portalis, and Francois Dominique de Reynaud. Duc de Bassano became Secretary of State in 1811 and as it says on the Brandeis website “he was one of the notorious judges of the ‘Accusés d’Avril’”. Joseph Marie Comte Portalis became the Minister of Justice in 1829 and worked closely with Louis Philippe. Francois Dominique de Reynaud was a writer, politician, and judge at the notorious April trials. All of the men in this picture are shaped like a pear, which was a sign of being a fool. The first point that stood out to me was that all of the men look very unhappy and not satisfied with what there doing. The third man in the picture looks as if he may be a servant because he is serving drinks. All of these men are portrayed as fools because of the way they are shaped.

This picture was made by Honore Daumier and was published in 1844. In this picture the man serving the soup to the poor people is shaped like a pear, which again symbolizes being characterized as a fool. The man receiving the soup is not shaped as a pear, which shows the contrasts between the two different men. The man receiving the soup is a poor person and shows that the do not act ignorant because they do not have much of anything to brag about. This picture portrays how the richer people tried to “act” as if they were helping the poor, but in reality they were actually just doing it to make them look better in everyone else’s eyes. As Barzun says “the selfishness of the ‘rising bourgeoisie’, manufacturers and bankers, who wanted to keep all the power to themselves.” This shows how the richer part of the society thought they were better then the poorer people in society.

Penny:


“A pastry chef spoiling everything”
I chose this because you can clearly see that King Louis is depicted as a pear on the plate, and the man holding him is Marthe Camille Bachasson, he was nominated minister and then in 1879 he was appointed senator. He was one of King Louis followers and was in charge of the administration of the kitchen, he himself has a pear like shape, the pot belly and the pointy hat being his stem. Since he was in charge of the kitchen you can see him in an apron carrying a plate of the food, the food being the king.  I liked this picture, because it stated the obvious as well as portraying those who followed the king as a fool as well.


“Jugement après la mort”
I chose this piece because I found it very interesting, after I stopped focusing on the left side of the picture I noticed that the man holding the scale was holding a hat on one side, and a pear on the other, the pear being King Louis. Usually the pear would weigh more but in this case it’s the hat that has more weight than the king, him being a foolish king he has no sense, no maturity to keep him grounded.


“Mr Chose, premier saltimbanque d'Europe”
I chose this picture because you can very clearly see the pear that King Louis is being depicted as. He is walking along a tight rope and is losing his balance which may signify that he doesn’t have anything together and that he will fall eventually.  Even his hat shows that he is a target. The way his body is a pear is another way that he is being shown to be a fool.

Bill:
France in the 1840s was a time of turmoil and chaos.  Barzun remarked that the 1840s had become known as, “…the ‘Hungry Forties’…”  He also notes that, “…bad times for industry and bad harvests caused severe distress.” (548)  The reign of Louis Philippe caused hard times for the people of France, this coupled with an emerging sense of Individualism caused the arts to boom.  Artists reflected upon these hard times by blaming those whom they believed to be at fault.

I chose this Lithograph because it is highly symbolic of the public’s opinion towards Louis Philippe, that being one of illusion.  This artists depicted Philippe as being under a mask, overweight, and standing on (crushing) the press.

 

This Lithograph depicts Louis Philippe as a literal Pear.  I chose this illustration because it is interesting how it does not really use metaphors.  It is clear to see that the artist wanted people to see that Louis Philippe had been protecting his cronies under his power.

Maciek:

http://dcoll.brandeis.edu/bitstream/handle/10192/2677/LD229.jpg?sequence=1
When I first glanced at this drawing, the first thought that came to my mind was that of the mummy. The gentleman looks as though he is bundled snugly in a sarcophagus. Adding to that, the title, "Judgment After Death," makes the mummy-ish resemblance more fitting. Another symbol that came to my mind was that of the traditional Russian dolls. I also noticed the pear at the top of the line of symbols along with many other pictures, which I am assuming represent certain parts of Louis Philippe's life, both good and bad.

http://dcoll.brandeis.edu/bitstream/handle/10192/5027/LD133.jpg?sequence=1
This drawing caught my attention because of its resemblance to the painting of the American Navy crewman upon his return from War in 1945 embracing his love in a kiss. I felt that the style was similar. On top of that, I also, for some reason, thought of George Washington. It reminded me of the painting in which we see Washington crossing the Delaware river. Maybe it was the subtle word, "liberty," or the costumes of the people on the right of the frame who resemble the uniforms of British soldiers during the Revolutionary War. To be honest, I'm not sure why I thought of Washington, but that's what came to mind.

http://dcoll.brandeis.edu/bitstream/handle/10192/1894/LD152.jpg?sequence=1
Looking at this drawing, the only thing that I could think of was "Humpty-Dumpty."

Carly:

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

This is a picture of Joseph, Baron de Podenas.  He was a politician whom many people didn’t like.  He lost in the elections of 1834 and lost his position as Deputy for Narbonne, which he had been since 1829. Because of this and the fact that he was disliked, he was ridiculed by people such as Daumier. In this picture, Podenas is labeled as “Pot-de-Naz” because this was one of his common nicknames. “Pot-de-Naz” means “nose pot”, so Daumier is making fun of his nose. More obviously, however, Podenas’ proportions are being portrayed inaccurately. His head is in the shape of a pear; wide at the bottom, and more rounded and narrow at the top. This suggests that Podenas was a fool, and was similar to Louis Philippe.

 

 

http://dcoll.brandeis.edu/bitstream/handle/10192/1730/LD137.jpg?sequence=1 

 

 

 

 

 

 

 

 

 

 

 

 

 


This is a picture of Marthe Camille Bachasson, Conte de Montalivet, who was also a road builder, bridge engineer, and a politician. As a politician, he supported Louis Philippe, who made Bachasson Minister of the Interior from 1830 to 1832 and Minister of Culture in 1831. He also was involved in the establishment of the Versailles Museum, and was one of the judges of the April trials. He was also nominated Senator in 1879. He also was involved in the administration of all the kitchens in the castles, which would explain why he is dressed as he is in this picture.  In this picture, Louis Philippe is represented by the giant pear on the platter that Bachasson is carrying. If you look closely, the pear even has a face. Again, Philippe is being portrayed as a pear because many people see him as a fool at this time. And Bachasson is carrying him because he supports him. And unfortunately for Bachasson, because he supports Philippe, he too is seen as a fool, which is why in this picture his body has a pear shape.

 

 

 

 

http://dcoll.brandeis.edu/bitstream/handle/10192/2426/LD205.jpg?sequence=1 

 

 

 

 

 

 

 

 


This picture represents Louis Philippe and his supporters. However, Philippe is represented by a pear, because he is seen as a fool. The size of the pear is also significant, however. Philippe is represented as a giant pear because he is seen as a giant fool. Also in this picture, Louis Philippe has a giant cloak because he is trying to protect his supporters while covering up the mistakes that he and they have made at the same time.

Dylan:
http://dcoll.brandeis.edu/bitstream/handle/10192/1894/LD152.jpg?sequence=1
POT-DE-NAZ
 
This lithograph was particularly humorous because it mentions how Baron de Podenas (above) was “easy prey” for Daumier’s satirical artwork. This is because Podenas had a “rather shapeless head” and a “strange looking tuft of hair”. As comical as it may be, Daumier’s art serves a great purpose. As Barzun states: “This appeal for help from the arts is a familiar revolutionary ploy. It flatters and it awakens the social conscience in minds otherwise indifferent to politics.” (Barzun 523) Through such artwork, Daumier is thereby able to convey ideas to audiences otherwise untouched.

 
http://dcoll.brandeis.edu/bitstream/handle/10192/1730/LD137.jpg?sequence=1
Mr. MONTAUGIBET
I felt that this lithograph was clever because it managed to avoid censorship by representing Louis-Philippe as an actual pear in order to not be too direct. Meanwhile, Conte de Montalivet, who was responsible for the administration of all the kitchens in the castle, is similarly being represented as a pear or “fool”. In this picture, I feel that Daumier is mocking the “bourgeois” monarchy by presenting him in his role as a kitchen administrator. Although this man is a road builder, bridge engineer, judge, politician, and Senator, Daumier chose to portray him in the most demeaning form possible.