Breaking Waves, September Tide 1901

Editor: Okay, next up is Auguste-Louis Lepère's "Breaking Waves, September Tide" from 1901. It's an etching and woodcut on paper, showcasing a group of figures in a boat struggling against the surf. The mood feels really…dynamic, almost perilous. What's your take on this, and what does this image tell us about its time? Curator: This image reflects a growing public interest in coastal life, spurred by expanding railway networks in Europe. Suddenly, these once remote scenes became accessible tourist destinations, shaping artistic subjects. Consider Lepère's choice of printmaking – an affordable and reproducible medium – suggesting a conscious effort to cater to a broader audience interested in experiencing and consuming this coastal imagery. Editor: So, it's not just about portraying nature, but also tapping into a new kind of leisure and consumerism? How does that affect how we see those figures in the boat? Curator: Exactly! Those figures are participating in an industry. Are they fishermen, or are they perhaps there for recreation? The ambiguity forces us to consider the labor and leisure aspects coexisting on the coast. The title includes a time, specifying the season. Why would Lepere specify it's the tide of "September"? What might that tell us about who would be in the boat? Editor: Maybe to give it more realism, or to imply that the fishing is going to be very challenging in those weather conditions? Is that connected to his impressionistic style with the fleeting moment and shifting light? Curator: In a way, yes. Impressionism played a role in making this everyday moment appealing. This "snapshot" captures the realities and the romantic notions of coastal life, commercializing the scene in a way. Editor: That's fascinating. I hadn't thought about how the art market itself influenced the subject matter and style. Thanks! Curator: Likewise. Considering the socio-economic context reshapes how we perceive the art’s subject, medium, and meaning.