Who painted Ce que l'Angleterre appelle un trait-d'union?

Ce que l'Angleterre appelle un trait-d'union was painted by Honoré Daumier in 1867.

Where can I see Ce que l'Angleterre appelle un trait-d'union?

Ce que l'Angleterre appelle un trait-d'union is held by National Gallery of Art.

What movement is Ce que l'Angleterre appelle un trait-d'union?

Ce que l'Angleterre appelle un trait-d'union is associated with Impressionism.

Artwork

Ce que l'Angleterre appelle un trait-d'union

Honoré Daumier , 1867

Ce que l'Angleterre appelle un trait-d'union is an ink print by the Impressionist artist Honoré Daumier. It dates from 1867 and is held in the collection of the National Gallery of Art.

About this work

The man's facial expression conveys a sense of fear and desperation, while the lion's posture suggests aggression and power.

The image depicts a man sitting on the ground, bound by ropes and chains. He is dressed in dark attire, with his head tilted back and his mouth open in a scream. A large lion lies beside him, its mouth open and teeth bared, as if it is about to attack. The scene is set against a plain background, with no discernible details or context.

The man's facial expression conveys a sense of fear and desperation, while the lion's posture suggests aggression and power. The use of dark colors and bold lines adds to the dramatic effect of the scene.

This image is a lithograph by Honoré Daumier, titled "Ce que l'Angleterre appelle un trait-d'union," created in 1867. It is held at the National Gallery of Art, Washington, and is an example of Impressionism and Realism. To learn more about this style, explore the movement: Realism.

Overview

Created in 1867, this lithograph by Honoré Daumier bears the French title *Ce que l'Angleterre appelle un trait‑d’union*. The work presents a stark, monochrome scene in which a bound man lies on the ground beside an open‑mawed lion, both poised in a moment of imminent violence. The image is part of the National Gallery’s collection.

Subject & Meaning

The composition juxtaposes a terrified, rope‑bound figure with a threatening animal, suggesting a clash between human vulnerability and brute power. Daumier’s choice of a lion—a traditional emblem of strength—against a helpless captive may allude to political oppression or social injustice, themes recurrent in his satirical oeuvre.

Technique & Style

Executed as a lithograph, the piece relies on bold, decisive lines and a limited tonal range to heighten drama. Daumier’s handling of chiaroscuro through dense dark areas and stark contrasts emphasizes the tension between the figures, while the plain background strips away extraneous detail, focusing attention on the central confrontation.

History & Provenance

Daumier, a prolific caricaturist for 19th‑century French periodicals such as *La Caricature* and *Le Charivari*, produced this print during a period of heightened political commentary. The work entered the National Gallery’s holdings in the early 20th century, though the precise acquisition details remain undocumented in public records.

Context

The lithograph emerges from a decade marked by French republicanism and social upheaval, when Daumier frequently targeted the monarchy, aristocracy, and clergy. By invoking England in the title, the artist may be drawing a comparative critique of foreign or domestic power structures, a common device in his satirical repertoire.

Artist & collection

Artist

Honoré Daumier

Honoré-Victorin Daumier was a French painter, sculptor, and printmaker, whose many works offer commentary on the social and political life in France, from the Revolution of 1830 to the fall of the Second French Empire in 1870.