André-Marie-Jean-Jacques Dupin, Also Called Dupin the Elder (1783-1865), Deputy, Lawyer, Academician 1832

Curator: The piece before us is Honoré Daumier's ceramic sculpture, "André-Marie-Jean-Jacques Dupin, Also Called Dupin the Elder," created in 1832. What strikes you about it? Editor: Initially, I'm struck by the distortion. There’s almost a caricature-like quality to the features. It feels like a biting commentary, a kind of brutal honesty rendered in clay. Curator: That’s quite astute. Daumier was, in fact, known for his satirical portrayals of Parisian society. Dupin, a prominent lawyer, deputy, and academician, was a frequent target of his critical eye. What Daumier is doing here is actively participating in, and shaping, public opinion of prominent officials like Dupin. Editor: So it's not just a portrait but a statement about power, perhaps? Looking at the way Dupin is rendered, I'm reminded of discussions around physiognomy, the now-discredited idea that one's character is reflected in their physical features. Did that play a role here? Curator: It’s definitely at play here. While Daumier does depict Dupin’s physical likeness, his intent isn’t merely replication. The exaggerated features – the bulbous nose, pursed lips – speak to Daumier’s critical interpretation of Dupin's character, aligning with the contemporary perception of lawyers as being greedy, corrupt and self-serving. Editor: It makes me wonder about access, too. Was this piece widely displayed? Did it circulate primarily among an elite group, reinforcing existing power dynamics, or did it manage to reach a broader public, stirring debate and possibly resistance? Curator: During this time, it would have been difficult to circulate these artworks as widely as Daumier's lithographs were. While Daumier was celebrated, there also existed a deeply polarizing view, as people who aligned with the Monarchy found his work grotesque and slanderous. This piece remained relatively obscure until the early 20th century. Editor: It seems to serve as a potent reminder of how art can be used as a form of social critique, a way to challenge and subvert those in positions of power. Curator: Precisely. And how artists navigate the delicate balance between artistic expression and societal pressures is critical. The politics of imagery as shaped by Daumier here are quite strong. Editor: Considering its historical context, this ceramic bust still speaks to issues of representation and power. A single image can encapsulate a wealth of political and social commentary. Curator: It is really something to think about. Thanks for offering a view of this artwork! Editor: It's been insightful to explore this Daumier sculpture, its ability to communicate so effectively across time and context.