Grote salon in het Klein Trianon, Versailles 1859

Editor: Here we have Florent Grau’s “Grote salon in het Klein Trianon, Versailles,” a watercolor from 1859. It feels surprisingly intimate given its subject – a grand salon. What draws your attention in this piece? Curator: It’s fascinating how Grau captures the opulence of Versailles, yet frames it within the evolving politics of imagery. Stereoscopic images like this, popular at the time, made high culture accessible to a broader audience. Think about the rise of the bourgeoisie and their hunger for symbols of status. Does the duplication, inherent in the stereoscopic format, reinforce or challenge the idea of unique artistic value in your opinion? Editor: That’s interesting! I hadn't considered the impact of the format itself. It definitely makes the scene feel less unique and more... consumable. Curator: Precisely! Consider also the social function of the Trianon itself. It was a space of retreat for the French monarchs, a place to escape the rigid etiquette of court. This image, mass-produced and distributed, blurs the lines between public and private, between power and accessibility. What impact do you believe these images had on the perception, or perhaps, the *mis*perception of royalty amongst ordinary people? Editor: I guess they started seeing royalty not as gods but as… homeowners, maybe. And then the French Revolution! It feels like it's all connected. Curator: Indeed. The rise of Realism in art coincided with a growing democratic sentiment. Art became less about idealization and more about documentation, mirroring the societal shift towards valuing empirical observation. This salon is a stage set for social commentary, captured through the democratizing lens of the stereoscope. Editor: I’ll definitely be thinking about this image in a whole new light. Thanks! Curator: My pleasure. Remember, art is never created in a vacuum. By understanding its social and political context, we unlock a deeper appreciation of its meaning.