Nadar (1820-1910), photography elevating to the height of Art

Date: 1862
Medium: litografie
Location: private collection

The image shows a cartoon of a man holding a hanging camera with the caption "PHOTOGRAPHIE NADAR". The man is shown in mid-air high above an urban landscape, with the rooftops of buildings below him and the recognisable outline of an urban landscape in the background. It is a satirical depiction of a photographer taking pictures from a height, probably alluding to aerial navigation and photography in the 19th century.

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Daumier painted picture Nadar (1820-1910), photography elevating to the height of Art in 1862. Prevailing color of this fine art print is b&W and its shape is portrait. This art piece is located in a private collection This image is printed on demand - you can choose material, size and finishing.

Honoré Victorin Daumier (1808 - 1879. French painter, sculptor, printmaker and draftsman. He was known primarily for his political cartoons. He is considered one of the pioneers of naturalism painting in France. He was able to capture the human psyche with its existential problems and masterly convert it to canvas. From the beginning of his painting career, Daumier focused primarily on the human figure, embedded into an everyday urban environment. Masterfully, and using only a few lines, he could capture the human psyche and convincingly express his emotions. He was a good observer of various human types with their specific characteristics. These capabilities allowed him to be an excellent caricaturist-lithographer, glossing the political life of the country and criticising mostly royalists and the king himself, for which he was imprisoned for six months. He was always able to quickly and accurately pull out the most important aspects of a person and throw them out to the world with a satirical exaggeration. With the same clarity, he dominated the art of sculpture. Similarly to painting, he conceived matter as a series of protrusions and concave surfaces again returning to the earth. He did not create curtly academically, but he used mainly his hands and spatulas. A demonstration of his art is a set of coloured sculptures of right-wing parliament representatives from unfired clay that became a sensation immediately after their creation.
Around 1834, he began to devote himself to social issues as he wanted to show the miserable conditions of the poorest, mostly working-class people in society.