Ah! Enfin voila le train! ... c. 19th century

Editor: This is "Ah! Enfin voila le train! ..." by Honoré Daumier, a lithograph print from the 19th century. It's quite satirical! These figures, waiting for a train, are so dramatically rendered. How do you interpret this work? Curator: Daumier was a master of social critique, and his lithographs were widely circulated thanks to advancements in printing technology. Note how the printmaking process itself—a relatively inexpensive and reproducible medium—allowed him to disseminate these caricatures to a broader audience. How do the *materials* and the means of production shape your understanding of its meaning? Editor: Well, knowing it's a lithograph makes me think about mass media and accessibility. It wasn’t just for the elite. The artist used the medium as a vessel for his messages! I also see how that affects Daumier's presentation. He wasn't spending months carefully painting individual wealthy clients, this was commentary on types of people. Curator: Exactly! Consider the societal context. The burgeoning railway system drastically altered the landscape and the very fabric of daily life. Notice how Daumier exaggerates the physical characteristics and clothing of these individuals. It's not just about *who* they are, but also what their clothing says about them. Editor: That’s so interesting. I never considered clothing to be that telling but I now realize that I can learn a lot about the figures from their garbs. Is there anything else like the clothing that speaks to the piece's history? Curator: Indeed, consider the relationship between the artist and his patrons. His caricatures critique them but they must also consume and validate his images. Consider what that complex back and forth contributes to the artist’s cultural capital and, consequently, to the history of art. Editor: That really makes you think about who controls the narrative! The process really does affect the interpretation, like you said! I see so much more here now. Curator: Understanding the means of production—the lithographic process and the economic dynamics surrounding it—unlocks so much of Daumier’s intent. I am happy we got to shed light on that for you.