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C'est pourtant pas pour ça que j'avions voté oui, 19th century. Creator: Honore Daumier

C'est pourtant pas pour ça que j'avions voté oui, 19th century. Creator: Honore Daumier


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C'est pourtant pas pour ça que j'avions voté oui, 19th century. Creator: Honore Daumier

C'est pourtant pas pour ca que j'avions vote oui, 19th century. That's not why I voted yes

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Media ID 36293310

© Heritage Art/Heritage Images

Daumier Honore Daumier Honore Victorin Debris Dissatisfaction Dissatisfied Election Funny H Daumier Honore Daumier Honore Victorin Daumier Lithographic Rubble Voter


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C'est pourtant pas pour ça que j'avais voté oui

EDITORS COMMENTS
(That's not why I voted yes) is a powerful and thought-provoking lithograph created by the renowned French artist Honore Daumier in the 19th century. This black and white image, now housed in the National Gallery of Art in Washington D.C., captures the essence of dissatisfaction and disillusionment that often follows the aftermath of an election. The print depicts a group of men, dressed in various stages of dishevelment, standing in front of a pile of debris and ruined houses. The men, with expressions of disappointment and frustration, seem to be pondering the outcome of an election, their votes having yielded results they did not anticipate. The title of the piece, "That's not why I voted yes," adds to the sense of disappointment and regret. Daumier's use of satire and parody is evident in the exaggerated features of the men's faces and the caricatured depiction of the ruined houses. The image is a commentary on the political process and the disconnect between the promises made during campaigns and the reality that follows. The use of black and white, or bw and lithographic techniques, adds to the somber and reflective tone of the piece. The image is a reminder of the complexities of the political process and the importance of staying engaged and informed. It is a valuable addition to any art collection or gallery, offering a glimpse into the past and providing a thought-provoking commentary on the present. The National Gallery of Art is fortunate to have this important work in its collection, adding to its rich heritage of art and cultural history.

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