A rather unsatisfied litigant, plate 26 from Les Gens De Justice 1846

Curator: The first thing that strikes me is the raw emotion practically leaping off the page, a disgruntled energy swirling around this... what’s the opposite of gravitas? Ligitas? Whatever it is, this has it! Editor: And that is what makes Daumier so relatable, don't you think? What we are seeing is plate 26 from his series "Les Gens de Justice," or "The People of Justice," created in 1846. The Art Institute of Chicago currently holds this particular lithograph. It's interesting to view it within its sociopolitical context, with Daumier's constant engagement with legal subjects during that period. Curator: Context, sure, but look at that little guy pointing, his whole body practically vibrating with indignation. And the lawyer, or judge, peering down with the subtlest, most infuriating air of "What, me?". It's a symphony of social discord, condensed onto a single sheet! Editor: Absolutely, and consider Daumier's use of caricature, heightening the features to emphasize the power dynamics at play within the French judicial system during that era. The series aimed to scrutinize and mock this social system. The inscription "Un plaideur peu satisfait", "A rather unsatisfied litigant" it is the title and offers us all the clues we need to understand this work. Curator: That stairway behind them too—I see words like "judgement" and something about truth… Each step implies how laborious is the process to achieve Justice. It almost reads like a satirical flowchart for despair! But seriously, look how light catches the litigant while casting an almost impenetrable shadow from the Judge's body! Editor: And notice the composition, leading the eye upwards towards the almost saintly, untouchable figure of the Justice man, juxtaposed against the lowly, visually frantic petitioner. The institutions he critiques often perpetuate and shield, to a certain degree, figures just like the one Daumier paints. Curator: It’s just…brilliant. With seemingly minimal lines, he’s evoked a universe of inequality and, dare I say it, relatable frustration with "the system." Editor: He manages to use this to underscore systemic inequalities of the time period. Truly biting social commentary that retains its relevance even now. A stark visual reminder of the eternal dance between the powerful and the powerless. Curator: Yes. One never forgets a Daumier piece. It scratches where it itches and reminds us of universal truths. Editor: It urges us to remember the social function of images, no? That even something like a black and white lithograph on paper may have immense cultural significance.