De honigdieven / Les voleirs de miel 1833 - 1911

Curator: Let's delve into "De honigdieven / Les voleirs de miel," created sometime between 1833 and 1911 by Brepols & Dierckx zoon, held at the Rijksmuseum. It’s a watercolor that strikes me as an early form of comic strip, each panel a moment in a playful narrative. How might you interpret the significance of such imagery existing within a museum context? Editor: It’s interesting. I guess, immediately, I see a critique of authority, right? Like, are these "honey thieves" actually victims of the prevailing social structures? Curator: Exactly. Examining it historically, printed imagery like this circulated widely, contributing to a visual culture available beyond the elite. The "politics of imagery" is central: How does the production of these comic strips participate in shaping moral and social values for the emerging middle class? Was humor and visual storytelling used to reinforce or subvert societal norms? Editor: So, you're saying that a piece like this gains importance from understanding its circulation? That its historical reception is part of its significance, as well as the artwork itself. Curator: Precisely. Consider how the choice of watercolor, its easy reproduction, played into the piece’s wide dispersal. It wasn't just about the content, but also about accessibility. And today, its display within the Rijksmuseum raises interesting questions. What happens when such accessible art enters these institutional walls? How is its narrative and its politics of imagery changed? Editor: It really reframes what’s considered valuable or “museum-worthy.” I hadn't thought about art history including the social impact *of* art production, too. Curator: Indeed! These unassuming pieces were key in establishing modern modes of visual storytelling.