Le Petit Thiers, Baptisé Doctrinaire c. 19th century

Curator: Editor: This is Honoré Daumier's lithograph from around the 19th century, called "Le Petit Thiers, Baptisé Doctrinaire." It's a rather striking print, with such distinct figures. What's your read on it? Curator: As a lithograph, this image embodies a critical juncture in the means of artistic production. Consider how this print democratized image distribution compared to unique, hand-crafted artworks. How does the reproducibility of the lithograph, using readily available materials like the stone matrix and greasy crayon, affect our perception of its message? Editor: I suppose the reproducibility suggests it was meant for widespread consumption and discussion, and makes its inherent message maybe all the more charged and provocative? Curator: Exactly. It’s important to understand that Daumier was actively engaged in social and political critique, using his art as a means of protest. Consider also the labor involved in creating the printing stone itself. Does this elevate the print or is it devalued in contrast with 'traditional' painting? Editor: I'd never thought about it like that - the lithographic process is a collaborative labor involving the artist, the printer and then its distribution - like cogs in the societal machine it seeks to comment upon. Curator: Precisely. Think also of the cost of paper versus the patronage required to create a singular painting. It allowed his commentary to circulate far wider. It turns our understanding of 'art' on its head by making it far less elite. What have we gleaned overall about the intersections of process and politics in Daumier’s work? Editor: By focusing on how Daumier's lithographs were made and circulated, we gain a deeper understanding of how the artistic intention was spread through society by new industrial printing processes. Thanks, that's changed my perspective. Curator: Likewise; exploring the means of creation truly illuminates the message within the work itself.