Elizabeth C. Childs, “Daumier, Gargantua, and the Censorship of Political Caricature,” Art Journal, Vol. 51, No. 1 (Spring 1992), pp. 26-37.

  1. On what grounds were Daumier, his publisher, and printer brought to trial? What punishment was meted out upon them? (p. 27)
  • What related issues does Childs explore to explain why Daumier’s image was perceived to be so offensive to the government? (p. 27)
  • What inspired Daumier’s scene of gluttony?  What additional methodology does Childs explore, in order to analyze the Rabelaisian banquet imagery?  (p. 28)
  • What episode from Rabelais’ account of Gargantua does Daumier appropriate to transform Louis-Philippe’s throne into the bathroom?  (pp. 28-29)
  • According to the author, why did Daumier invoke a modern reading of the classic French author Rabelais? (p. 29)
  • According to Childs, what specific context of contemporary politics in Paris should be considered when examining Daumier’s image of consumption and exploitation?  What various policies of Louis-Philippe’s government does Daumier’s Gargantuan imagery target? (pp. 30-31)
  • Under which provision of the law of 1830 did Daumier’s Gargantua get him into big trouble?  (p. 31)
  • What example from early modern caricature does Childs provide as an example of the rich tradition of grotesque imagery of the body and defecation?  What other methodological approach does the author cite as a means by which to understand the scatological tradition? (pp. 31-32)
  • According to Childs, when discussing Daumier’s caricatures published immediately prior to the release of Gargantua in December 1831, what was the unpardonable trespass that the artist committed? What motifs and puns did Daumier employ to deride Louis-Philippe? (pp. 32-33)
  1. After Daumier’s conviction, how do republican political cartoonists use more cautious representations of the king in the scatological discourse? (p. 33)
  1. In Gargantua, how did Daumier test the same ground of artistic freedom that Philipon had just defended? (p. 34)
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