Insolence, from The World's Racers series (N32) for Allen & Ginter Cigarettes by Allen & Ginter

Insolence, from The World's Racers series (N32) for Allen & Ginter Cigarettes 1888

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drawing, coloured-pencil, print

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drawing

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coloured-pencil

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print

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impressionism

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coloured pencil

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horse

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watercolour bleed

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watercolour illustration

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genre-painting

Dimensions: Sheet: 1 1/2 x 2 3/4 in. (3.8 x 7 cm)

Copyright: Public Domain

Curator: Alright, let's dive into "Insolence," a print made in 1888 by Allen & Ginter as part of their "World's Racers" series. These were, believe it or not, cigarette cards. Editor: The name "Insolence" throws me off guard, honestly. Is the horse or the rider being insolent? Or both? There's something cocky about the upright posture, the way he sits so composed while that horse practically prances. Curator: It's a wonderfully subtle piece for something designed as a small commercial insert, wouldn’t you agree? Notice how Allen & Ginter used coloured pencils and a delicate print process, which lends it a light, airy feel almost impressionistic? Editor: Absolutely. You know, the composition, with its relatively simple horizontal layering – background, middle ground featuring the rider and horse, and a blank lower portion – creates this rather contained space. Like they’re deliberately restraining the potential energy. Curator: The attention to detail, especially in the horse's musculature and the jockey's posture, conveys movement within this restriction. There's tension, this contained power, which brings us back to the title. It makes me wonder, you know? Were they glorifying a kind of aristocratic defiance? Editor: I am leaning into your idea of "aristocratic defiance" as something appealing to their smoker clientele. I suppose the 'insolence' lies in presenting this controlled elegance amidst the grime of daily life. Curator: That’s beautifully put! The subtle palette of browns, greens, and that striking blue of the jockey's jacket adds to it. It feels nostalgic. It’s like a snapshot of a fleeting, glamorous moment. Editor: Right! And those slightly blurred lines around the edges—very watercolour-esque — suggest movement and that the picture has perhaps escaped its boundaries. It also softens the overall impact, making it more dreamlike than a direct representation. Curator: A brief reverie, indeed, plucked from a rapidly changing world! This small piece makes us appreciate both the artist's skill and the intriguing social undercurrents beneath such everyday items. Editor: Exactly. I will carry a new thought to explore; even cigarette cards can whisper fascinating tales of their time!

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