The Boat Studio, from series Voyage en Bateau, 1862 1861

Curator: This etching by Charles-François Daubigny, from 1861, is titled "The Boat Studio." It's part of a series called *Voyage en Bateau*, and currently resides here at the Met. Editor: Claustrophobic, almost. But comforting too. Look at how self-contained that space is; you've got the feeling of both limit and focus. Curator: Absolutely. For Daubigny, his boat became a floating studio. Think of the practicalities! He needed to create a workspace that provided shelter and mobility, bringing him face-to-face with his subjects along the Oise river. Editor: I imagine the labor involved! Not just the artistic kind, but also the physical task of adapting this boat. It seems cramped with the supplies, the framing. There's also some suggestion of domestic life; kitchenware on the shelf in the background? Curator: He turned necessity into inspiration. The low horizon line allowed for panoramic views, and you can feel it informing his own painting practice. There’s this tangible immediacy, where one can almost feel the slight rock of the vessel and see Daubigny intently capturing his fleeting impressions. Editor: It makes me consider the actual etching process, all those delicate lines made possible by industrial advancements of metal production. And it shrinks everything: an intimate scale mirroring his own shrunken world on water. This interplay with the art world and what art materials can be is fascinating to me. Curator: Exactly! The "Voyage en Bateau" series marks a pivotal point in his oeuvre. It speaks volumes about the intimate connection Daubigny had with the water. I can almost hear the lapping against the hull while watching this artwork. Editor: Well, now I can too. It's fascinating to consider that such intimate artwork arose from a blend of artistic inspiration, social changes, and also some industrial production that let his project flourish on the water.