“- Mr.Lifeguard.... is it true there are sharks at Dieppe? - Of course... but it is pretty simple... as soon as you see one coming to eat you, all you have to do is lay down sideways. He won't eat you for fear of choking to death,” plate 1 from Aus Bains De Mer c. 1858

Curator: Let's explore this lithograph by Honoré Daumier, made around 1858. It's titled "“- Mr.Lifeguard.... is it true there are sharks at Dieppe? - Of course... but it is pretty simple... as soon as you see one coming to eat you, all you have to do is lay down sideways. He won't eat you for fear of choking to death,” plate 1 from Aus Bains De Mer". Editor: My immediate impression is a sense of unease mixed with dark humor. The stark contrasts and distorted figures create a world where anxiety lurks beneath the surface of seaside leisure. Curator: Observe the clever use of line to depict the figures. Daumier uses thick, expressive strokes to define the characters' features and clothing, contrasting with the finer lines used for the water, sky and background elements. Editor: I find the piece resonates with contemporary anxieties about safety, and specifically highlights the disparities in how risk is perceived and communicated depending on who holds the power. The lifeguard's dismissive response feels like a microcosm of larger social and political structures where those in charge downplay genuine threats to maintain order or control. Curator: Indeed, consider the strategic composition: the lifeguard looms large and self-assured on the right, his form crafted from resolute lines of dark ink. Whereas the bather on the left seems overwhelmed, rendered with frantic marks which creates the illusion of palpable agitation. Editor: Daumier worked during a time of great social upheaval in France, with rapid industrialization and urbanization leading to significant changes in people's lives. "“- Mr.Lifeguard.... is it true there are sharks at Dieppe?" then satirizes the complacency of the upper classes, using humor as a means to critique social and political realities. It forces us to confront questions about class, privilege, and the absurdity of authority figures offering empty assurances in the face of danger. Curator: The subtle nuances of dark ink layered upon delicate cream-toned paper invite careful study. The balance he creates is really the artwork's strength. Editor: Reflecting on Daumier’s artwork has certainly encouraged me to see how historical social critiques can so keenly apply to our own era of inequalities. Curator: For me, I have been fascinated by how Daumier manages to combine line and tone to achieve such dynamic expressiveness with minimal materials.