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Student Artwork Guide

The Uprising

Name Class Date

Honoré Daumier, The Uprising (1860), The Phillips Collection. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Honoré Daumier originaluniqueart.com/en/artists/honore-daumier/
Artist’s dates
1808 – 1879
Painted
1860
Original size
88 x 113 cm
Movement
Contemporary Realism Living artists painting the real world with traditional skill, often from photographs as well as from life.
Held at
The Phillips Collection originaluniqueart.com/en/museums/the-phillips-collection-washington-d-c/

In context

The Uprising — Honoré Daumier

How big is it?

The original measures 88 × 113 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1800
  2. 1810
  3. 1820
  4. 1830
  5. 1840
  6. 1850
  7. 1860
  8. 1870

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 71 at death.

Painted when the artist was 52. The artist lived to 71. 68 of the 97 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Honoré Daumier (1808–1879) ▲ this work, 1860 every dated painting, decade by decade

First works: up to 1834 Main working years: 1834–1860 Late works: from 1860

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/honore-daumier-the-uprising-8Y3695-en/

Colours

Measured from the image

    Main colour

    Phthalo Green #20221d

    Catalogued palette

    • #20221D
    • #8C8866
    • #595946
    • #CAC382

    These colours inside the artist’s whole palette Find other paintings by colour

    Main colour name
    Phthalo Green
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Subtle Color How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Honoré Daumier over the last twelve months — 25 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 48.8%12,100 visits
    2. 2 France 6.9%1,700 visits
    3. 3 Singapore 6.9%1,700 visits
    4. 4 Germany 6.5%1,600 visits
    5. 5 United States of America 4.8%1,200 visits
    6. 6 Brazil 4.4%1,100 visits
    7. 7 Italy 4.0%1,000 visits
    8. 8 Hong Kong 3.2%800 visits
    9. 9 Philippines 2.4%600 visits
    10. 10 Argentina 2.0%500 visits
    11. · 15 other countries 10.1%2,500 visits

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Honoré Daumier

    1. 1 Honoré Daumier Nous voulons Barabbas (Ecce Homo) We want Barabbas (Ecce Homo), 1852 10.7%3,600 visits
    2. 2 The Hauler of a Boat 6.5%2,200 visits
    3. 3 The Republic, 1848 4.1%1,400 visits
    4. 4 The Uprising (L, 1848 2.4%800 visits
    5. 5 The Third-class Carriage, 1860 2.4%800 visits
    6. 6 Burden, 1850 2.1%700 visits
    7. 7 The Washerwoman, 1863 2.1%700 visits
    8. 8 Deux hommes assis à une table, ou les Fumeurs, huile sur panneau Two men sitting with a table, or the Smokers, oils on panel 2.1%700 visits
    9. 9 The Uprising, 1860 this painting 1.8%600 visits
    10. 10 Les Gens de Justice: Vous m, 1845 1.8%600 visits
    11. 11 The Third-class Carriage, 1865 1.5%500 visits
    12. 12 Don Quixote and Sancho Panza, 1866 1.5%500 visits
    13. 13 Scene from a Comedy, 1858 1.5%500 visits
    14. 14 Intermission at the Comédie Française, 1858 1.5%500 visits
    15. 15 Une cause célèbre, crayon et aquarelle A famous cause, pencil and watercolour 1.5%500 visits
    16. 16 L'amateur d'estampes, huile sur toile The amateur of prints, oils on fabric 1.5%500 visits
    17. 17 The Print Collector, 1865 1.5%500 visits
    18. 18 The Laundress, 1861 1.5%500 visits
    19. 19 Ratapoil, 1850 1.2%400 visits
    20. 20 Guizot or the Bore, 1832 1.2%400 visits

    Together these works take 50.4% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 292 works by this artist, of which 129 were looked at at least once. This painting ranks 9 of them, with 1.8% of that attention (600 visits). The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    Artist and museum

    Artist

    Honoré Daumier

    Born in Marseille, France

    A Life Etched in Satire: The World of Honoré Daumier

    Born in Marseille in 1808, Honoré-Victorin Daumier’s journey was one deeply intertwined with the tumultuous currents of 19th-century France. His early life, marked by his father's poetic aspirations and subsequent relocation to Paris in 1814, immersed him in a city brimming with artistic energy. Though initially destined for a legal career, young Daumier’s inclination leaned irrevocably towards art. He apprenticed under Alexandre Lenoir, absorbing classical influences alongside an appreciation for the dramatic chiaroscuro of Rubens, and further honed his skills at the Académie Suisse. This foundational training would prove crucial in shaping his distinctive style—a potent blend of realism and expressive draftsmanship. However, it wasn’t merely artistic technique that defined Daumier; it was a profound sensitivity to the social injustices and political absurdities surrounding him.

    The Sharpened Pen: Caricature and Social Commentary

    Daumier's career truly ignited in the wake of the 1830 Revolution, an event that irrevocably altered the course of French history and simultaneously provided fertile ground for his burgeoning satirical talent. He quickly established himself as a master lithographer, initially contributing anonymously to various publications before gaining prominence through his work with Le Charivari, a fiercely independent comic journal founded by Charles Philipon. It was here that Daumier’s genius truly blossomed. His caricatures weren't simply humorous depictions; they were scathing indictments of the bourgeoisie, the legal system, and the political establishment. He fearlessly lampooned King Louis-Philippe, earning himself a six-month imprisonment in 1832 for a particularly biting caricature. This experience, far from silencing him, only solidified his commitment to exposing hypocrisy and challenging authority through art. His lithographs became visual manifestos, capturing the spirit of dissent and offering a critical commentary on the societal ills of his time. The sheer volume of his output during this period is astonishing—thousands of lithographs that served as both popular entertainment and potent political statements.

    Beyond Caricature: Painting and Sculptural Visions

    While Daumier is most celebrated for his lithography, to confine him solely to the realm of caricature would be a grave disservice. He was also a dedicated painter and sculptor, though recognition for these works came later in life. His paintings, often depicting scenes of everyday Parisian life—the third-class carriage, the laundresses, the lawyers—are imbued with a profound sense of realism and empathy. They are not idealized portrayals but rather unflinching depictions of hardship and struggle. He masterfully employed loose brushwork and dramatic lighting to convey emotion and atmosphere, foreshadowing some of the techniques later embraced by the Impressionists. His sculptural work, largely created in clay (many pieces remaining unbaked during his lifetime), reveals a similar commitment to capturing the human form with honesty and emotional depth. These sculptures, rediscovered after his death, demonstrate a remarkable talent for modeling and an ability to convey psychological complexity through physical gesture.

    A Lasting Legacy: Influence and Historical Significance

    Honoré Daumier’s impact on art history is undeniable. He bridged the gap between Romanticism and Realism, paving the way for future generations of artists who sought to depict the world as it truly was—warts and all. His unflinching social commentary influenced artists like Gustave Courbet and Édouard Manet, while his innovative use of lithography revolutionized printmaking. His work continues to resonate today, reminding us of the power of art to challenge authority, expose injustice, and bear witness to the human condition. The Musée d'Orsay in Paris houses a significant collection of his paintings and sculptures, offering visitors a glimpse into the world he so vividly portrayed. His lithographs are widely accessible through collections like those found on AllPaintingsStore, ensuring that his satirical genius continues to provoke thought and inspire dialogue. Daumier wasn’t merely an artist; he was a chronicler of his time—a visual poet who used his talent to give voice to the voiceless and hold power accountable. His legacy endures as a testament to the enduring relevance of art as a force for social change.

    Museum

    The Phillips Collection

    On show in Washington, D.C., United States of America

    The Phillips Collection: A Sanctuary of Modern Vision

    Nestled in Washington D.C.’s elegant Dupont Circle neighborhood resides a treasure—The Phillips Collection, America’s first museum dedicated to modern art. It wasn't conceived as a grand public institution from its inception, but rather blossomed organically from the passionate vision of Duncan Phillips and his wife, Marjorie Acker Phillips. Beginning in 1921, their home transformed into an intimate gallery, a haven for artistic innovation that defied the prevailing tastes of the time.

    Phillips, heir to a steel fortune yet driven by a profound aesthetic sensibility, believed deeply in the interconnectedness of art across generations. He wasn’t simply collecting; he was building a dialogue—a conversation between Old Masters and burgeoning modernists, recognizing echoes of emotion and technique that transcended temporal boundaries. This philosophy shaped not only his acquisitions but also the very atmosphere of the museum, fostering an environment where contemplation and connection could flourish.

    The original Georgian Revival residence, expanded thoughtfully over the years, retains this sense of intimacy, a deliberate contrast to the imposing scale often associated with major art institutions. Walking through its rooms feels less like visiting a museum and more like entering a beautifully curated home—a testament to Phillips’s belief that art should be lived with, experienced personally, not merely observed from afar.

    Masterpieces in Dialogue: The Collection's Heartbeat

    The collection itself is a revelation, anchored by iconic works that resonate with enduring power. Perhaps the most celebrated piece is Pierre-Auguste Renoir’s Luncheon of the Boating Party, a shimmering depiction of Parisian leisure that encapsulates the joy and fleeting beauty central to Impressionism. The painting isn't merely a visual delight; it’s an invitation to step into a sun-drenched afternoon, to feel the warmth on your skin and hear the laughter of friends.

    But the Phillips Collection doesn’t rest on its laurels. It boasts an exceptional grouping of Vincent van Gogh canvases, including Fisherman's Wife on the Beach, which reveals the artist’s raw emotional intensity through expressive brushwork and a poignant portrayal of everyday life. The vibrant hues and bold compositions of Henri Matisse further enrich the collection, exemplifying the Fauvist movement’s liberation from representational accuracy in favor of pure visual impact.

    Beyond these celebrated names, the museum champions American modernists like Winslow Homer and James McNeill Whistler, showcasing their contributions to a burgeoning artistic landscape that was beginning to find its own distinct voice. The deliberate juxtaposition of these diverse styles—the classical grace of Renoir alongside Van Gogh’s turbulent energy or Matisse’s audacious color—is a hallmark of the Phillips Collection’s curatorial approach, reflecting Duncan Phillips’s belief in the continuous evolution of art and the enduring power of artistic influence.

    A History of Bold Choices: Pioneering Exhibitions

    The Phillips Collection wasn’t content to simply display established masters; it actively sought out and championed artists who were ahead of their time. Throughout its history, the museum hosted groundbreaking exhibitions that challenged conventional thinking and expanded the boundaries of artistic expression.

    A particularly notable example is the rediscovery of Louis Michel Eilshemius in the 1930s—an American artist whose unique vision had been largely overlooked by the mainstream art world. Phillips recognized Eilshemius’s singular talent, showcasing his work to a wider audience and helping to establish his place in American art history.

    These exhibitions weren’t merely displays of artwork; they were catalysts for conversation, sparking critical debate and shaping the trajectory of modern art in America.

    An Intimate Encounter: What Sets The Phillips Apart

    What truly distinguishes The Phillips Collection from other institutions is its unwavering dedication to creating an intimate and immersive experience for visitors. Unlike sprawling museums that can feel overwhelming, the Phillips offers a sanctuary—a space designed for quiet contemplation and personal engagement with art.

    The carefully curated exhibitions prioritize artistic nuance and emotional resonance, encouraging viewers to delve deeper into the complexities of each work. It’s a place where you can linger in front of a painting, allowing its colors and textures to wash over you, or lose yourself in the subtle details of a sculpture.

    This commitment to intimacy extends beyond the physical space; it permeates every aspect of the museum’s operations, from its knowledgeable staff to its thoughtfully designed educational programs. The Phillips Collection isn’t just about seeing art; it’s about feeling it—about forging a personal connection with the creative spirit that animates each masterpiece.

    It remains a beacon of artistic excellence, a place where beauty inspires reflection and expands horizons for generations to come.

    Where to read more

    Find this online

    QR code linking to the download page for The Uprising

    originaluniqueart.com/en/art/download/honore-daumier-the-uprising-8Y3695-en/

    Cite this artwork

    MLA
    Daumier, Honoré. The Uprising. 1860, The Phillips Collection. https://originaluniqueart.com/en/art/honore-daumier-the-uprising-8Y3695-en/
    APA
    Daumier, Honoré (1860). The Uprising [Painting]. The Phillips Collection. https://originaluniqueart.com/en/art/honore-daumier-the-uprising-8Y3695-en/
    Chicago
    Honoré Daumier. The Uprising. 1860. The Phillips Collection. https://originaluniqueart.com/en/art/honore-daumier-the-uprising-8Y3695-en/
    Harvard
    Daumier, Honoré (1860) The Uprising. The Phillips Collection. Available at: https://originaluniqueart.com/en/art/honore-daumier-the-uprising-8Y3695-en/

    Look closely

    The Uprising — Honoré Daumier

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: social protest, crowd gathering, clock symbolism. Do you agree? What would you add, or take away?
    4. Look back at Honoré Daumier Nous voulons Barabbas (Ecce Homo) We want Barabbas (Ecce Homo) (1852), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Contemporary Realism: Living artists painting the real world with traditional skill, often from photographs as well as from life. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    How many people view "The Uprising"?

    Statistics about "The Uprising" by Honoré Daumier are on the artwork's Stats page: monthly visits of the artwork, visits of the artist's works, and country and language breakdowns of recent visitors.

    What is the dominant color of "The Uprising" by Honoré Daumier?

    phthalo green (#20221d) is the leading color of "The Uprising" by Honoré Daumier.

    Who is the author of "The Uprising", and in which movement?

    Honoré Daumier created "The Uprising" within the Contemporary Realism movement.