Ce monsieur, au sortier de l'estaminet ... c. 19th century

Editor: This lithograph, "Ce monsieur, au sortier de l'estaminet...", from Honoré Daumier, likely from the 19th century, seems heavy with disillusionment. The figure, slumped on what I guess is a bed, looks utterly defeated. The text talks about how he has just lost all his money. What strikes you first about this piece? Curator: That you noticed all this so quickly, well done! What first strikes me? I wonder, can we ever *truly* separate art from our own anxieties and joys? When *I* look at this figure, I see a quiet, private moment of utter desolation, and that speaks volumes about Daumier’s brilliance in capturing universal human emotions. See how the hat floats detached, ambition cast aside... the discarded boots and cards underscore loss and despair. What do *you* think that the top hat floating alone may be supposed to indicate? Editor: Hmm, maybe it's meant to symbolize lost aspirations? Or the absurdity of his situation—chasing status symbols while being broke. It adds to that melancholic yet slightly mocking tone. The cards nearby almost seem like mocking laughter. I had not thought about the floating hat like this until now... I wonder, could this melancholy be described as 'Romantic?' Curator: Yes! But it’s also social commentary, dripping with realist observation. Consider the Romantic era fascination with intense emotion, twisted by the gritty realities Daumier portrays... The social realism, I think, grounds the romantic feelings with biting satire. The text suggests a contrast with someone named 'Rotschild.' Daumier seems to hold a mirror to society. Does it feel like that to you? Editor: It does! He’s capturing not just a personal tragedy, but also a broader social commentary on inequality and class differences. I hadn’t picked up on the specific name. I see it much clearer now. Curator: It's fascinating how much meaning is packed into such a seemingly simple image, isn't it? The intersection of personal emotion and broader social critique makes Daumier so compelling.