“- Times are difficult; this year we must learn to be more modest... - Don't tell me, my dear Ducorneau.... as far as I am concerned, every time I go to the theatre I now deny myself the company of my wife....,” plate 2 from Tout Ce Qu'on Voudra 1847

Curator: This is a lithograph by Honoré Daumier, dating back to 1847, currently residing here at the Art Institute of Chicago. The full title is quite a mouthful: "—Times are difficult; this year we must learn to be more modest...—Don't tell me, my dear Ducorneau.... as far as I am concerned, every time I go to the theatre I now deny myself the company of my wife....," plate 2 from Tout Ce Qu'on Voudra. Editor: Oh, it's delightful! It gives off that dry, witty air of social commentary, doesn't it? The way those two gents are drawn, you immediately know something's up. Sort of like overhearing a scandalous conversation at a stuffy gathering. Curator: Precisely. Daumier was a master of capturing the nuances of Parisian society and distilling them into satirical images. The text, of course, is integral to the piece. Editor: It makes me wonder about the symbols. Like, why is the "poor" guy in denial puffing up so large, he clearly had one dessert too many. You know, what's the meaning behind the size differential? Also what does it mean that his friend is the one leading the way. And both figures are shown outside of buildings. They are forced to talk in "public" for some reason. Why? Curator: Indeed. In terms of the social and symbolic power at play, his frame contrasts his words—displaying how, even amidst financial worries, some people desperately cling to appearances. Editor: There's also a melancholy tone. Those fine dark lines convey how these individuals deal with something they cannot overcome. The artist feels that it is almost impossible to correct people. It seems more empathetic. What a masterful dance with pen and ink to show these states! Curator: That blend of critique and empathy is central to Daumier's enduring appeal, and an artwork like this captures both. He gives the two gents hats too which only adds to that sad Romanticist air. Editor: Yes, exactly. Seeing how societal dynamics can both liberate and entrap its figures—what could be more worthy of art.