Oude man in militair kostuum, zittend naast een open haard 1874

Editor: We’re looking at Lhermitte's "Old Man in Military Costume, Sitting by a Fireplace," from 1874. It's a pencil drawing, and there's a quiet stillness to it, a kind of contemplative mood. The man seems worn, maybe tired of service. What stands out to you about this piece? Curator: What immediately captures my attention is the presentation of military service itself. Notice how the man, likely a veteran, is positioned not in active duty or heroic stance, but in domestic repose, beside a fireplace. Lhermitte produced this work shortly after the Franco-Prussian War, so this image could be seen as a commentary on the post-war societal attitudes toward veterans. What message might the artist be conveying by showing a soldier in such a mundane setting? Editor: Maybe a disillusionment with war? A sense that the reality of military life doesn't align with the glorified version? Curator: Precisely! And consider the rise of Realism in art during this period. Artists like Lhermitte aimed to depict everyday life, often focusing on the working class and the less privileged. By portraying this veteran in simple attire, we confront a different narrative of military life – one stripped of romanticism and focused on the individual's lived experience. This perspective also influences how institutions like museums collect and frame historical narratives. Do you see this work as critical or celebratory of military service? Editor: I initially perceived a somber mood, but understanding the post-war context and realist movement makes it read as a bit more critical. There's a social commentary aspect that I hadn't considered. Curator: Indeed. It prompts us to consider whose stories are being told and how they're being presented, challenging conventional depictions of heroism in art and influencing our understanding of history itself. Editor: It's amazing how much context changes the meaning. I'll definitely remember to look into the background more deeply in the future.