Les écuries d'Augias 1872

Editor: So, this lithograph is called "Les Écuries d'Augias," or "The Augean Stables," by Honoré Daumier, from 1872. It seems to depict a classical figure overwhelmed by… paper? There's something almost grotesque and satirical about this imposing figure trying to manage such a chaotic situation. What’s your read on this, given the context of the time? Curator: Daumier, using the myth of Hercules cleaning the Augean stables, offers a pointed commentary on the political and financial scandals plaguing France at this time. He's not just illustrating; he's actively engaging with the systemic corruption, isn’t he? Look closely – what words do you see amongst the piles of papers? Editor: I see words like "Marché," which means market, “Comptes," which means accounts and something about "Marches d'Empire". Curator: Exactly. Daumier is depicting the sheer volume and filth of unchecked financial dealings under the Second Empire and in the early days of the Third Republic. Notice how the figure is burdened, almost drowning in the paperwork. This evokes not just the labor but also the moral quagmire. How do you think this imagery resonated with the public at the time? Editor: Well, I guess they also felt like they were drowning in market accounts from the time? Curator: Precisely! And Daumier isn’t just reflecting public sentiment. He's actively shaping it, offering a critical perspective that encourages viewers to question the structures of power and participate in the fight for justice and transparency. Daumier transformed caricature into political activism. Editor: It's powerful how he uses classical references to talk about current events. I'll definitely look at Daumier's work differently now. Curator: Art is never created in a vacuum. And the most poignant is usually born out of an engagement of ideas that agitate for the urgent change of the current moment.