C'est l'apollon du nouvel opéra c. 19th century

Editor: This is Honoré Daumier's lithograph, "C'est l'apollon du nouvel opéra," from around the 19th century. It seems to capture a moment of humorous observation. I'm struck by how the two figures in the foreground contrast with the statue they are viewing. What draws your eye in this piece? Curator: For me, the interesting point lies in the materiality of this piece. It is a lithograph. Let's consider the means of production, of printing and disseminating commentary for mass consumption. What does the print medium itself tell us about the social context, the artist’s intention, and its reception by a contemporary audience? Editor: Well, it would allow for wider distribution, right? To reach more people with Daumier's perspective. Was he challenging a certain class or artistic sensibility with his work, making art accessible beyond elite circles? Curator: Exactly! He utilizes printmaking to democratize his satire. And think about the subject: it critiques the monumental art associated with the "new opera," linking it to social commentary and perhaps questioning the values of those who champion it. Consider the labor involved: the physical act of creating the stone matrix, the printing process. Editor: So it’s not just *what* is being depicted but *how* it's being made and distributed. Is he elevating a “lower” form, the print, to comment on high art, this Apollo statue? Curator: Precisely! He blurs the lines, collapsing hierarchies, using the means of production to democratize critique itself. This connects to a larger dialogue about class, taste, and the consumption of art during the period. What happens when art comments on art, made with different material processes, meant for different audiences? Editor: I see now how examining the medium reveals so much more about Daumier's social commentary than just looking at the image alone. The context of its making is key. Curator: Indeed, it offers a profound lens for understanding not only art but society itself.