Eh! bien monsieur et mes trois termes... 1848

Editor: Here we have Honoré Daumier’s, "Eh! bien monsieur et mes trois termes…," a print from 1848. It's a very simple composition: two men face each other. The lines seem so efficiently rendered... It feels like we are witnessing a moment in time. What's your read on this artwork? Curator: From a materialist perspective, it’s interesting to consider this print as a commodity, made to be circulated. Daumier wasn’t just creating fine art; he was producing a product intended for mass consumption. The swift pencil work, evident in the final print, suggests a deliberate streamlining of the production process. How does the title and subject resonate with the political and social circumstances of France in 1848, the year of revolutions? Editor: I see what you mean, the material realities influenced the subject. 1848 was turbulent. But why the focus on the economic dimensions rather than the artistic skill? Curator: The artistic skill IS linked. The efficiency in Daumier’s printmaking addresses a societal need. His caricature wasn’t merely reflecting society; it was actively shaping public opinion and influencing the market, particularly because he was challenging bourgeoise complacency with accessible imagery. Consider, who might purchase or encounter this image and what power dynamics exist in the exchange? Editor: So, it is less about the artistic genius, and more about the system in which he was working? Thinking about production and consumption definitely offers a fresh perspective. Curator: Precisely. It emphasizes how even seemingly simple prints are embedded within complex socio-economic systems, where the means of production, distribution, and reception are crucial to understanding the work’s significance. This lens can help challenge the romanticized views that tend to separate art from social structures.