Who painted We are all honest men, so let us embrace and be done with it?

We are all honest men, so let us embrace and be done with it was painted by Honoré Daumier in 1834.

Where can I see We are all honest men, so let us embrace and be done with it?

We are all honest men, so let us embrace and be done with it is held by Cleveland Museum of Art.

What movement is We are all honest men, so let us embrace and be done with it?

We are all honest men, so let us embrace and be done with it is associated with Romanticism.

Artwork

We are all honest men, so let us embrace and be done with it

Honoré Daumier , 1834

We are all honest men, so let us embrace and be done with it is a print by the Romanticist artist Honoré Daumier. It dates from 1834 and is held in the collection of the Cleveland Museum of Art.

About this work

Overview

This print, published in La Caricature on November 13, 1834, is part of a series of satirical illustrations critiquing contemporary French politics. As plate 439 in the journal’s 210th issue, it uses visual irony to respond to public events of the July Monarchy. The title, spoken by figures in the image, frames the scene as both performative and deeply ironic.

Subject & Meaning

The image depicts a group of men in formal attire embracing one another, their gestures exaggerated and unnatural. The scene mocks political alliances formed for convenience rather than conviction, suggesting hypocrisy among government figures. The phrase in the title, delivered as a declaration of sincerity, underscores the gap between public posturing and private motives.

Technique & Style

Rendered in ink and wash, the print employs sharp line work and minimal shading to emphasize facial expressions and bodily postures. The composition is tightly grouped, forcing the viewer to confront the forced intimacy of the figures. The style aligns with French political caricature of the 1830s, prioritizing clarity and satire over decorative detail.

History & Provenance

The print was issued during a period of heightened censorship under King Louis-Philippe, when La Caricature became a key platform for dissent. Published under the pseudonym of its artist, it circulated widely among urban readers. Original copies survive in institutional collections, including the Bibliothèque nationale de France, where it was archived as part of the journal’s complete run.

Context

In 1834, France faced political unrest following the suppression of worker uprisings and the consolidation of power by moderate liberals. Caricature journals like La Caricature responded by lampooning politicians as self-serving and insincere. This print reflects public skepticism toward the regime’s claims of unity and moral authority during a time of social tension.

Legacy

The print exemplifies the role of satirical print culture in shaping political discourse in 19th-century France. Its imagery influenced later generations of cartoonists who used visual irony to challenge authority. Though not widely reproduced today, it remains a documented artifact of how visual satire functioned as a form of civic critique under restrictive regimes.

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.