Oui, monsieur, on a eu l'indignité de me refuser ce tableau... (Yes, Monsieur, they had the cheek to reject my picture for the exhibition...), plate 69 from the series Tout de Qu'on Voudra (As You Like It) in Le Charivari

Inscriptions

Lettered, upper center: TOUT CE QU'ON VOUDRA.; lettered, upper right: 69; inscribed, on stone, lower right: 1056; lettered, lower left margin: Chez Aubert & C.ie [ie in superscript] Pl. de la Bourse, 29. Paris.; lettered, lower right margin: Imp. de M.e [e in superscript] V.e [e in superscript] Aubert, 5 rue de l'Abbaye à Paris.; lettered, lower center: -Oui, monsieur, on a eu l'indignité de me refuser ce tableau là à l'exposition....et voyez / pourtant avec quelle conscience j'avais exécuté le crucifiement de mon saint.......il n'y a / pas à dire il n'y manque pas un clou!.....; inscribed, in graphite, lower center 77DC $3.50 [Translated text: Yes, Monsieur, they had the cheek to reject my picture for the exhibition... and you can see for yourself with what consciousness I have executed the crucification of my saint... there is no question, not a single nail is missing!]

Course History

ARTH 2, Introduction to the History of Art II, Joy Kenseth, Marlene Heck, Winter 2012

COLT 73, 101, Spectacle and Exhibitionism, Michelle Warren, Winter 2012

FREN 8, Exploring French Culture and Language, Annabelle Cone, Winter 2014

ARTH 7, Paris in the 19th Century, Kristin O'Rourke, Winter 2014

ARTH 2, Introduction to the History of Art II, Joy Kenseth, Mary Coffey, Winter 2014

WRIT 5, Poor Taste, William Boyer, Winter 2014

FREN 8, Exploring French Culture and Language, Annabelle Cone, Spring 2014

FREN 8, Exploring French Culture and Language, Annabelle Cone, Fall 2014

FREN 8, Exploring French Culture and Language, Annabelle Cone, Winter 2015

ARTH 7.2, Paris in the Nineteenth Century, Kristin O'Rourke, Winter 2015

ARTH 50, Romanticism, Kristin O'Rourke, Spring 2015

ARTH 50, Romanticism, Kristin O'Rourke, Spring 2015

ARTH 41.04, European Art 1850-1900, Allan Doyle, Spring 2019

ARTH 41.04, European Art 1850-1900, Allan Doyle, Spring 2019

ARTH 48.05, Satire: Art, Politics & Critique, Kristin O'Rourke, Winter 2022

ARTH 48.05, Satire: Art, Politics & Critique, Kristin O'Rourke, Winter 2022

ARTH 48.05, Satire: Art, Politics, & Critique, Kristin O'Rourke, Fall 2022

Exhibition History

Artist as Object/Subject, Harrington Gallery Teaching Exhibition, Art History 2, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, December 18, 1999-March 12, 2000.

France in Transformation: The Caricature of Honore Daumier, Harrington Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, April 25-August 24, 2009.

Manet and His Time, Harrington Gallery Teaching Exhibition, ArtH 87, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, March 29, 1994-July 9, 1994.

Teaching the History of Western Art 1500-Present, Harrington Gallery Teaching Exhibition, ArtH2, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, January 27-March 11, 2001.

The Art of Spectatorship: A History of Viewing from the Renaissance to the Present Day, Harrington Gallery Teaching Exhibition, Art History 2, Ivan Albright Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, January 19-April 6, 2008.

Visions of Modernity: Nineteenth-Century European Art from the Permanent Collection, Harrington Gallery Teaching Exhibition, Art History 2, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, May 2-June 21, 1998.

Publication History

Abigail Weir, France in Transition: The Caricature of Honore Daumier, Hanover, New Hampshire: Hood Museum of Art, Dartmouth College, 2009, ill. p. 4.

Provenance

Ferdinand Roten Gallery, Baltimore, Maryland; sold to present collection, 1958.

Catalogue Raisonne

Hazard (1904): 2653; Delteil (1926), Vol. 5: 1714; Daumier Register: 1714

This record is part of an active database that includes information from historic documentation that may not have been recently reviewed. Information may be inaccurate or incomplete. We also acknowledge some language and imagery may be offensive, violent, or discriminatory. These records reflect the institution’s history or the views of artists or scholars, past and present. Our collections research is ongoing.

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