The Entourage 1895

Curator: Looking at Steinlen’s “The Entourage,” from 1895, made with pencil and charcoal on paper and currently residing here at The Art Institute of Chicago. Editor: The immediate impression is of urban anonymity, wouldn't you say? The heavy blacks and blurring create a somewhat somber, oppressive feeling. Curator: Yes, and that aligns with Steinlen's larger artistic project. He was deeply invested in representing the social realities of Belle Époque Paris, the plight of the working class, and the increasing alienation felt by individuals in rapidly modernizing cities. These weren't idealized portrayals but stark observations of everyday existence. Editor: Notice the way he handles the perspective. It's almost as though the artist is amongst the crowd himself, part of this urban landscape. And, then, the striking emphasis on their backs rather than their faces further emphasizes their collective identity. Curator: Precisely, there's a leveling effect in this composition. No one figure dominates; rather, they all exist within a shared economic and social stratum. The use of almost exclusively black garb contributes, speaking to social restrictions, class divisions, and performative mourning rituals. Editor: It is certainly impressive how Steinlen, in these loose but confident strokes, still renders detailed information about clothing, posture, movement...He transforms mundane material into something so rich in its own right. Curator: I see it, in part, as Steinlen giving voice to the voiceless, providing representation to those systematically ignored within official art historical narratives. His art functions as a potent commentary on societal power imbalances. Editor: So, "The Entourage," which sounds quite grand but turns out to be about collective existence. It all blends and then gives space for a lot of depth. Curator: Ultimately, the power lies in the dialogue.