Onmogelijke avonturen 1893 - 1894

Curator: In this 1893-1894 print, "Impossible Adventures" by Imagerie d'Épinal – Pellerin, we see a narrative told across multiple panels. It looks like an early form of comic, and the adventures do indeed appear impossible! What strikes you initially? Editor: I'm intrigued by the use of printmaking to create this kind of sequential narrative. It reminds me of woodcuts but with a comedic twist. How does the medium affect its reception and cultural relevance at the time? Curator: Precisely! The choice of printmaking – likely a form of chromolithography given the color – indicates a desire for mass production and distribution. Think about the labor involved. It speaks volumes about targeting a broad audience, democratizing image consumption. These "impossible adventures" weren’t meant for the elite; they were popular entertainment. Editor: So the value lies not only in the narrative but also in its accessibility due to the materials and means of production? How does that challenge traditional ideas of art? Curator: Exactly. By understanding its production, we can rethink where we draw the line between craft and high art. Also, consider the publisher: “Humoristic Publishing Co.” Clearly, their investment points to the emerging culture industry and consumption habits that fueled it. The print isn’t just about “impossible adventures;" it’s about the possible profit derived from those adventures when reproduced and distributed widely. Editor: I never thought about folk art from the perspective of the publisher and consumer! The material choices and mass production speak to a much wider context than just the image itself. Curator: Absolutely. Looking at the image itself is never enough; understanding the materials, processes, and social contexts allows us to fully comprehend the 'impossible adventure' of its making and circulation.