The Third class Carriage Honore Daumier (1808-1879)
Honore Daumier – The Third class Carriage
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Painter: Honore Daumier
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Painted in the nineteenth century, the painting addresses a phenomenon of the time: the railroad. It was strange and new then, and Daumier could not avoid the subject. Known for his satirical caricatures for his time, his paintings came out carrying important themes. This painting also shows a diverse crowd swaying in time with the movements of the train. The oil on canvas perfectly captures the stingy, dark colors with which the artist worked.
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Description of Honore Daumier’s painting "Third Class Carriage".
Painted in the nineteenth century, the painting addresses a phenomenon of the time: the railroad. It was strange and new then, and Daumier could not avoid the subject. Known for his satirical caricatures for his time, his paintings came out carrying important themes. This painting also shows a diverse crowd swaying in time with the movements of the train. The oil on canvas perfectly captures the stingy, dark colors with which the artist worked. He wanted to show people riding in a third-class carriage, a place where there is no comfort to speak of.
The light from the window barely illuminates their tired, poverty-stricken faces. The carriage is packed to capacity, and there would be no room for one more person. The characters depicted here are used to putting up with the blows of fate, and their faces show submission to all the possible difficulties of their difficult life. The foreground depicts a woman for whom it is perfectly normal to breastfeed her baby in front of strangers. She simply does not care. Beside the old woman sits a boy, who from fatigue has forgotten a heavy sleep.
The low ceilings almost crush the passengers, making them wonder how they will get off public transport. There is only one smile on the entire canvas, and it is not a full smile, but only a shadow of it. It runs across the face of a slumbering boy, showing that the world of children has no power over any difficulties. And it also says that his disarming naivety is able to resist both suffering and poverty. The artist painted this smile with special attention.
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The lighting is uneven, with a shaft of light entering from a window on the left, illuminating certain figures while leaving others shrouded in shadow. This selective illumination draws attention to a woman seated near the front, holding an infant. Her face, though weary, possesses a degree of prominence, and her gaze seems directed outwards, beyond the confines of the carriage. Beside her sits another woman, larger in stature, whose expression is less discernible but conveys a sense of quiet resignation.
A basket held by a central figure suggests provisions for travel, hinting at journeys undertaken out of necessity rather than leisure. The clothing worn by the individuals – simple garments and caps – indicates a working-class background. Many men are depicted wearing hats, further reinforcing this impression.
The overall atmosphere is one of quiet desperation and social commentary. The artist seems to have intended not merely to depict a scene but to convey an understanding of the lives of those who travel in such conditions – individuals marginalized by economic circumstance. Theres a palpable sense of collective hardship and anonymity, suggesting a broader critique of societal inequalities. The lack of individualization among many figures reinforces this theme; they are presented as representatives of a larger group rather than unique personalities.
The painting’s power resides not in its vibrant colors or dramatic action but in its subtle portrayal of human endurance within the context of industrial progress and social stratification.