Chut ... ! Ma fille est en communication ... by Honoré Daumier

Chut ... ! Ma fille est en communication ... c. 19th century

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lithograph, print

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comic strip sketch

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imaginative character sketch

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lithograph

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print

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caricature

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old engraving style

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sketch book

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traditional media

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figuration

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personal sketchbook

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idea generation sketch

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sketchwork

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romanticism

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sketchbook drawing

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genre-painting

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storyboard and sketchbook work

Copyright: National Gallery of Art: CC0 1.0

Editor: This lithograph by Honoré Daumier, dating back to the 19th century, is titled "Chut!... Ma fille est en communication...". The satirical subject matter makes me chuckle. I mean, look at these characters! What’s particularly striking is how it speaks to the culture of its time. What do you see in this piece, from your perspective? Curator: Well, the inscription mentions someone’s daughter in communication with Dante. Consider the historical context: the 19th century saw a surge in spiritualism and séances. Daumier, known for his social commentary, likely critiques this fascination. It also targets those eager to align themselves with historical importance through cultural figures. This imagery and commentary wasn’t operating in a vacuum – think of how political power played out through caricatures in prints, easily disseminated among the public. Editor: Ah, so it’s not just about the humour; it's also a political statement. The way people latch onto certain trends to appear intellectual, regardless of genuine understanding. Curator: Exactly! Daumier’s art existed within a culture that used imagery to mock pretense and societal obsessions. Who controlled those images, what biases might be embedded, and who was being excluded? What role did institutions like "Le Charivari", where many of Daumier’s lithographs were published, play in shaping public opinion? Those are essential questions we have to ask when considering art like this. Editor: So by highlighting those things we can engage with the work in a richer way. Curator: Precisely. Context illuminates Daumier's critique and underscores the enduring role of art as a mirror to, and a commentary on, society.

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