But she is therefore the wife . . . c. 19th century

Curator: Gazing at this print by Paul Gavarni, titled "But she is therefore the wife . . .", one immediately senses a strained domesticity. Editor: Yes, there's a weariness, a kind of bored resignation in the man's posture. He sprawls, almost collapsing into the settee, while the woman beside him sits upright, back turned. Curator: Gavarni was a master of social satire. He keenly observed Parisian life, and his lithographs often capture these moments of awkward intimacy and social tension within marriage. We might consider how gender roles are being portrayed. Editor: Indeed. She's almost doll-like in her stillness, a decorative object perhaps, while he exudes a world-worn apathy. I wonder what the story is behind that dialogue printed at the bottom—something about a woman not being happy to belong to him? Curator: Exactly! It's a sardonic question that underscores the lack of connection. Gavarni isn't merely depicting a scene; he's offering a commentary on societal expectations and the realities of relationships. Editor: I feel a deep sympathy for her, I think. Curator: Perhaps it's a mirror to our own expectations—a reminder that appearances can belie profound disconnects. Editor: A clever print that tells a bigger story.