Date 1864 Medium Oil on canvas Terms oil 300015050 canvas 300014078 Dimensions 25 3/4 x 35 1/2 in. (65.4 x 90.2 cm) Collection Metropolitan Museum of Art, New York, NY 29.100.129 Getty ids beside the museum's words, by exact match, 2026-09-09
oil read as oil paint by Abe Garcia, 2026-09-07
Of These are claims by the holder and by Wikidata, read 2026-09-04, and join nothing until an editor confirms them.
Holder's headings Children , Men , Women , Trains , Nursing Wikidata depicts woman , train , child , man , breastfeeding Close The Third-Class Carriage — Honoré Daumier 1864
Also by Honoré Daumier 5 Le Charivari, December 1, 1832–May 31, 1833 Honoré DaumierDecember 1, 1832–May 31, 1833 Metropolitan Museum of Art, New York, NY The Drinkers Honoré Daumierby 1861 Metropolitan Museum of Art, New York, NY The Connoisseur Honoré Daumierca. 1860–65 Metropolitan Museum of Art, New York, NY Mr. et Mme. Prudhomme revenant de la foire..., from Croquis Parisiens, published in Le Charivari, April 18, 1857 Honoré DaumierApril 18, 1857 Metropolitan Museum of Art, New York, NY The Laundress Honoré Daumier186[3?] Metropolitan Museum of Art, New York, NY
Within fifty years of 1864 4306 Hampstead, Stormy Sky Style of John Constable1814 The Art Institute of Chicago Teach Yourself How to Dance (Odori hitori keiko) 踊独稽古; 酒宴即興踊独稽古(しゅえん そっきょう おどりひとりげいこ) Sanshōsai1814, first month (Bunka 11) Metropolitan Museum of Art, New York, NY Decorative Studies; Verso: Barbarian Head in Profile from the Antique Felice Giani, Italian, 1758–18231814–18 Cooper Hewitt, Smithsonian Design Museum Decorative Study; Verso: Two Head Studies Felice Giani, Italian, 1758–18231814–18 Cooper Hewitt, Smithsonian Design Museum Decorative Study; Verso: Anatomical Study Felice Giani, Italian, 1758–18231814–18 Cooper Hewitt, Smithsonian Design Museum Eight Studies of Friezes and Candelabrum Felice Giani, Italian, 1758–18231814–18 Cooper Hewitt, Smithsonian Design Museum Four Decorative Studies of Ceilings; Verso: Anatomical Studies Felice Giani, Italian, 1758–18231814–18 Cooper Hewitt, Smithsonian Design Museum Decorative Studies; Verso: Anatomical Studies Felice Giani, Italian, 1758–18231814–18 Cooper Hewitt, Smithsonian Design Museum
Also at Metropolitan Museum of Art, New York, NY 488 Marble female figure Bastis Master2600–2400 BCE Metropolitan Museum of Art, New York, NY Relief Fragment with a Ship Under Sail Unknownca. 2465–2458 BCE Metropolitan Museum of Art, New York, NY Tomb Chapel of Raemkai: South Wall Unknownca. 2446–2389 BCE Metropolitan Museum of Art, New York, NY West wall of the chapel of the mastaba Kaemsenu with niches for Iretnub, Kaemsenu and Werdjedptah Unknownca. 2420–2250 BCE Metropolitan Museum of Art, New York, NY Design amulet, Cow and Calf on the Back, Device showing Antithetical Falcons Flanking an Ankh Sign over a Crouching Lion Unknownca. 2150–2100 B.C. Metropolitan Museum of Art, New York, NY Design Amulet, Pyramidal Back with Horizontal Piercing, Device showing Two Falcons Flanking what is meant to be an Ankh Sign Unknownca. 2150–2010 B.C. Metropolitan Museum of Art, New York, NY Design Amulet, Cow Nursing Calf and also a Kneeling Suckling Man Visible on Opposite Side on the Back, Device showing Antithetical Falcons with an Ankh Sign over a Lion Unknownca. 2150–2100 B.C. Metropolitan Museum of Art, New York, NY Design Amulet, Back in the Form of a Woman Suckling a Child, Device showing Two Lizards Head-to-tail Unknownca. 2100–2080 B.C. Metropolitan Museum of Art, New York, NY In the stacks Not yet checked 1
Passages in the library’s own holdings that name this maker. The model ranked them; nobody has checked that the name means this person.
The international studio · John Lane
at the Ecole of the water-colors of Gavarni, the sepias of Henri Monnier and the paintings, then quite unknown, of Daumier, it caused a scandal. Fortunately protestation changed into apotheosis and the very dignitaries who had at first objected, won by the sumptuousness of the works, put Daumier into the Louvre. M. Dayot recounts this episode in his preface for the catalogue of the Ville-I’Eveque exhibit, with the hint to the authorities that since 1888 they have gained the reputation for “enlightened eclecticism.” M. Dayot’s opinion of what such an … 0.71 Add a connection Propose a reading
Next Made in the nineteenth century, like The Third-Class Carriage.
