Le retour du permissionnaire. -Tu Tombes a pie! c. 1914 - 1919

Editor: This pencil drawing, "Le retour du permissionnaire. -Tu Tombes a pie!" by Jean-Louis Forain, made between 1914 and 1919, has such an unsettling mood. The frantic energy of the returning soldier contrasts sharply with the static figure on the right. How do you interpret this work? Curator: Forain’s work, particularly this drawing, invites us to consider the social realities of World War I and the artist's stance as a kind of critical observer. Notice how the soldier on leave bursts into the scene, a stark contrast to the other figure's weariness. What does that juxtaposition say about the lived experiences of those at war, and the very different realities of those on leave versus those in the trenches? Editor: It highlights the disjunction between the home front and the brutal reality of war, the slogan below reinforces the abrupt return into that environment. Curator: Exactly. Forain doesn’t shy away from portraying the psychological impact of the war. We also need to look at Forain’s role. Was he simply documenting, or was he making a broader commentary on class, power, and the human cost of conflict? Who is granted leave, and what privileges does that reveal within the military structure of the time? Editor: That makes me consider the political dimensions even more. Curator: Absolutely. Art from this period is inherently political. By focusing on these individualized moments of return, Forain captures the larger fractures and inequalities within French society during wartime. Thinking about it that way, this drawing becomes more than just a depiction of a soldier; it is a visual indictment of a system. Editor: I’m struck by how much context shifts the reading of the piece. It is a powerful drawing! Curator: Indeed. It serves as a reminder that art can be a potent tool for social critique and historical understanding. I'll certainly keep a closer watch on pieces created in those terrible years.