Voila pourtant ce qu'on est convenu d'appeler ... c. 19th century

Curator: Honoré Daumier created this lithograph, "Voila pourtant ce qu'on est convenu d'appeler...", sometime in the 19th century. It translates to "Yet, this is what we have agreed to call...". Editor: The overwhelming emotion it conveys is...ennui. Note the contrasting postures. One figure slouches in quiet disappointment while his companion appears to be vocalizing the same sentiment. Curator: Indeed, it satirizes the bourgeoisie’s obsession with hunting as a leisure pursuit. The print comes from a series called "Les Plaisirs de la Chasse," published in the French satirical magazine, Le Charivari. Daumier was well known for using his art to critique social and political issues. Editor: His line work is incredibly efficient, especially the rendering of their clothing. And how economical the composition is; the expanse of flat space amplifies the men's disaffection. The dog mirrors this disillusionment. Look at that droop! Curator: The lithographic process allowed for the relatively inexpensive production of multiple copies. Daumier's caricatures were able to reach a wide audience. These works became instrumental in shaping public opinion and challenging the status quo during a time of significant social upheaval in France. Editor: The beauty is also in what isn't there—very few tonal shifts, and it's as though the light is bleaching all feeling from the scene. Curator: He had to negotiate the prevailing attitudes toward the aristocracy and the rapidly expanding middle class to make a living as an artist at this time, while also needing to express his own views. Daumier definitely found an astute way of commenting on the absurdity of social conventions through such work. Editor: It really underlines how formal constraints—the reduction to line and tone—can be just as powerful in conveying emotional depth as overt gestures. A truly brilliant observation on hunting as the leisure pursuit. Curator: The power of art lies in its ability to serve as a mirror, reflecting society's follies and prompting critical self-reflection, and Daumier excelled in just this regard. Editor: I think this confirms how strong visual economies, especially in the context of such clever caricature, result in affecting commentary.