![]() ![]() ![]() ![]() Honoré Daumier (1808–1879), who had spent his career making drawings on stone on a daily basis for popular magazines, was largely dismissed as a journalist by critics and collectors, if not by his fellow artists. The spectacular pen lithographs of Rodolphe Bresdin (1822–1885) were notable exceptions, but most fell outside mainstream interests and garnered little attention from critics. But in spite of these claims for lithography as an artistic medium, it remained steadfastly linked in the eyes of critics and collectors with political imagery, propaganda, and commercialism. Cadart had tried, unsuccessfully, to produce an Album lithographique (Album of lithographs) in 1862, at the same time that he published his first Eaux-fortes modernes album, in the preface to which Gautier criticized “the vulgarity of the lithograph.” Burty had also supported the artistic merits of lithography in his preface to the 1861 sale catalogue of a group of lithographs by Romantic artists. Lithography, though it shared etching’s affinities with drawing, had not enjoyed the commercial or critical success that etching had in the 1860s and 1870s. The sometimes overly precious trappings of the belle épreuve stood in opposition to lithography’s popular status as an easy means of disseminating images to a wide audience. ![]()
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