Woman in the dark dress
The woman at right center sits upright in a wide, ruffled skirt, her face calm and turned slightly to the side. She stands out from the huddled women beside her.

“This humorous lithograph by Honoré Daumier captures a relatable moment of domestic struggle, turning a man's clumsy attempt to reach something high into a comical commentary on human effort.”
In this lithograph, a man in a nightshirt and cap stands precariously on a stool, straining to reach something high above him. His arms are outstretched, his body contorted in an awkward, almost balletic pose, as he balances on the small, wobbly perch. Below him, a woman watches with a mixture of concern and exasperation, her hands clasped in front of her. The scene is set in a modest interior, suggested by the simple furniture and the bare walls. This image, published in the satirical French newspaper Le Charivari, captures a moment of domestic absurdity, a common theme for Daumier. The title, "Ce qui nous prouve comme quoi il est... inutile..." (Which proves to us how it is... useless...), hints at the futility of the man's efforts, turning a mundane household task into a humorous commentary on human endeavor.
Five details hide in plain sight. Pick one and we’ll show you exactly where to look.
The woman at right center sits upright in a wide, ruffled skirt, her face calm and turned slightly to the side. She stands out from the huddled women beside her.
Look at the huddled group of women in the left foreground, packed close together in heavy shawls and wraps. Their bulk fills much of the lower left of the scene.
At upper right, a woman in a pale dress walks with two men through what looks like a passage. They are small and lightly drawn, easy to miss.
Dense, loose hatching builds the dark skirts at the bottom. The scribbly lines give weight and shadow to the billowing fabric, a typical effect of lithographic crayon.
Heavy dark masses crowd the left and bottom, while the right and back open into pale space. The contrast makes the foreground feel jammed.
The full narration walks you through Ce qui nous prouve comme quoi il est... inutile..., from Croquis Dramatiques, published in Le Charivari, May 23, 1857 — the story behind it, the details most visitors miss, and why it matters. Free in the Art Whisper app.
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
Absinthe: The first glass, the sixth glass, from 'The Chinese of Paris," published in Le Charivari, December 22, 1863
1863 · 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
Beyond Daumier and Naturalism: works from the same years.
Same era · 1840s–1870s
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Same era · 1840s–1870s
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Same era · 1840s–1870s
The Sheepshearers
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Same era · 1840s–1870s
Lion Hunt
Eugène Delacroix · 1858 · Museum of Fine Arts Boston
Same era · 1840s–1870s
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Same era · 1840s–1870s
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William Hart · 1855 · Museum of Fine Arts Boston
Same era · 1840s–1870s
Young Spartan Girls Challenging Boys
Edgar Degas · 1860 · Art Institute of Chicago
Same era · 1840s–1870s
Joséphine-Éléonore-Marie-Pauline de Galard de Brassac de Béarn (1825–1860), Princesse de Broglie
Jean-Auguste-Dominique Ingres · 1853 · Metropolitan Museum of Art
Same era · 1840s–1870s
Olive Trees
Vincent van Gogh · 1853 · The Metropolitan Museum of Art
Same era · 1840s–1870s
An Arab Warrior
Mariano Fortuny Marsal · 1862 · Hispanic Society of America
Same era · 1840s–1870s
Alfred Sisley
Pierre-Auguste Renoir · 1864 · Foundation E.G. Bührle Collection
Same era · 1840s–1870s
Fish (Still Life)
Édouard Manet · 1864 · Art Institute of Chicago