The Rider 1840 - 1850

Curator: Charles Jacque produced "The Rider" sometime between 1840 and 1850. It’s currently held here at the Met. It is executed using etching and perhaps some watercolor washes over the print to add nuance to the grayscale image. Editor: I'm immediately struck by the stark contrast and the somewhat melancholy mood. There's a distinct air of Romanticism clinging to the whole scene. The use of shadow really draws me in. Curator: Indeed. Look closely, and you'll see how the etching process allows for fine lines and detailed textures, essential for depicting the varied materials here: the stone of the building, the fur of the horse, even the different fabrics worn by the figures. It really speaks to the skill required of printmakers in the mid-19th century and to their value in disseminating imagery to a wider public. Editor: Absolutely. The way the woman is positioned near the doorway – almost presenting a drink or food on a tray – evokes age-old archetypes of hospitality, or perhaps even temptation. And then, the rider… back turned, almost stoic. It brings up the broader symbolism of journeys, departures, and even the vulnerability of stopping during a journey. Curator: Do you think the image hints at feudal relationships? The building, maybe a way-stop inn? Editor: Perhaps, the overall scene, while genre-like, taps into the symbolism of provision and reliance. The building itself acts as this looming, protective symbol and suggests shelter and continuity. Curator: And while we can consider these broader implications, the reality is this image, as a readily-producible print, becomes a commodity. Homes could acquire images quickly to add style to their wall spaces! Editor: Precisely! And I'd say we both agree the layering of symbol and practicality are quite strong! Curator: Absolutely, an exciting confluence. Editor: Thanks! This conversation has provided another dimension in understanding the power and endurance this particular artwork carries!