“This lithograph vividly portrays the before and after of absinthe consumption, showing a man's swift decline from composure to collapse, a potent social commentary published in a Parisian newspaper.”
This lithograph, titled "Absinthe: The first glass, the sixth glass," captures a man's descent into inebriation across two distinct moments. On the left, a man sits upright, holding a glass of absinthe with a relatively clear gaze, his posture still somewhat composed. The right side of the image presents a stark contrast: the same man, now slumped forward, his head resting heavily on the table, the glass still clutched in a limp hand. His hat, once perched on his head, has fallen, adding to the disheveled scene. This work appeared in the Parisian newspaper Le Charivari in 1863, a publication where Honoré Daumier regularly contributed his incisive social commentary. It reflects a growing public concern in 19th-century Paris about the potent, fashionable drink and its effects on individuals and society.
- Artist
- Honoré Daumier
- Date
- 1863
- Medium
- Lithograph on newsprint; second state of two (Delteil)
- Location
- The Metropolitan Museum of Art
- Dimensions
- Image: 7 15/16 × 9 9/16 in. (20.1 × 24.3 cm)
- Collection
- Drawings and Prints
- Credit line
- The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1962
What to Notice
Four details hide in plain sight. Here’s where to look.

Observe the man's changing posture from left (upright) to right (slumped).
Notice the fallen hat in the right panel, emphasizing his loss of control.
See the absinthe glass clutched in his hand in both scenes.
Look at the man's facial expression in the left panel, before intoxication sets in.
Stand in front of it and listen
The full narration walks you through Absinthe: The first glass, the sixth glass, from 'The Chinese of Paris," published in Le Charivari, December 22, 1863 — the story behind it, the details most visitors miss, and why it matters. Free in the Art Whisper app.
Further Works by Daumier
C'est peut-être bon...mais c'est égal..., from Les Hippophages, published in Le Charivari, October 23, 1856
1856 · The Metropolitan Museum of Art
Adèlaïde...Il me semble que je vois...la comète! (Adelaide...I think I see the comet!), from Croquis Parisiens, published in Le Charivari, February 18, 1857
1857 · The Metropolitan Museum of Art
Archimède riant des efforts impuissants que font les Anglais pour mettre à flot le Leviathan, from Actualités, published in Le Charivari, December 5, 1857
1857 · The Metropolitan Museum of Art
Ayant enfin trouvé..., from Actualités, published in Le Charivari, August 14, 1857
1857 · The Metropolitan Museum of Art
Ce perdreau est mort sur mon terrain..., from Émotions de Chasse, published in Le Charivari, October 10, 1857
1857 · The Metropolitan Museum of Art
Ce qui nous prouve comme quoi il est... inutile..., from Croquis Dramatiques, published in Le Charivari, May 23, 1857
1857 · The Metropolitan Museum of Art
A happy evening party in Clichy, from 'News of the day,' published in Le Charivari, March 16, 1865
1865 · The Metropolitan Museum of Art
A sudden awakening, from 'Parisian sketches,' published in Le Charivari, November 1, 1865
1865 · The Metropolitan Museum of Art
More from Naturalism
More works to explore
Beyond Daumier and Naturalism: works from the same years.
Same era · 1840s–1870s
The Backgammon Players
Philip Webb · 1861 · The Metropolitan Museum of Art
Same era · 1840s–1870s
Barks Fleeing Before the Storm
Léon-Victor Dupré · 1870 · Art Institute of Chicago
Same era · 1840s–1870s
Paris Street; Rainy Day
Kawabata Gyokushō · 1877 · Art Institute of Chicago
Same era · 1840s–1870s
Alfred Sisley
Pierre-Auguste Renoir · 1864 · Foundation E.G. Bührle Collection
Same era · 1840s–1870s
An Arab Warrior
Mariano Fortuny Marsal · 1862 · Hispanic Society of America
Same era · 1840s–1870s
Mount Madison from the Androscoggin River
William Hart · 1862
Same era · 1840s–1870s
Peasants Bringing Home a Calf Born in the Fields
Jean-François Millet · 1864 · Art Institute of Chicago
Same era · 1840s–1870s
Rêverie (Portrait of Gabrielle Borreau)
Gustave Courbet · 1862 · Art Institute of Chicago
Same era · 1840s–1870s
Sea View, Calm Weather (Vue de mer, temps calme)
Édouard Manet · 1864 · Art Institute of Chicago
Same era · 1840s–1870s
A Woman Seated beside a Vase of Flowers (Madame Paul Valpinçon?)
Edgar Degas · 1865 · The Metropolitan Museum of Art
Same era · 1840s–1870s
The Banks of the Marne in Winter
Camille Pissarro · 1866 · Art Institute of Chicago
Same era · 1840s–1870s
The Beach at Sainte-Adresse
Claude Monet · 1867 · Art Institute of Chicago



