The Descent of the Courtille in 1855, plate 165 from Actualités 1855

Editor: This is "The Descent of the Courtille in 1855" by Honoré Daumier, a lithograph from the Actualités series. It strikes me as darkly comedic – this strange procession with the central figure perched regally above it all. What’s your interpretation? Curator: It’s fascinating how Daumier uses caricature to critique Parisian society. Consider the political climate of 1855: Napoleon III's Second Empire. The "Courtille" was a carnival associated with the lower classes, and Daumier's rendering…is it celebrating or mocking this tradition? What feeling do you get from this print, knowing Daumier was often censored for his social commentary? Editor: I see now a sort of…resigned absurdity. The central figure isn't a king, but a clown, almost overwhelmed by the symbols around him – the bear, the other figures in the back. Like he is embodying something that’s dying or fading away. Curator: Exactly. Think about the role of lithography itself. It was a relatively new medium, allowing for mass production and dissemination of imagery. Daumier's prints, appearing in newspapers like *Le Charivari*, reached a wide audience. Is this popular art reinforcing or challenging existing social structures? How do you think viewers at the time would perceive it? Editor: It makes me wonder if this work functions as social commentary. To me it could signify more than a snapshot of revelry, as some kind of cultural referendum through this strange spectacle and those haunting pencil marks. Curator: It really reflects on art’s inherent position within societal currents; its power to subtly or blatantly comment on social conventions, power, and visibility of political narratives. Editor: Yes! Thinking about it that way makes the piece feel incredibly dynamic and current.