Stilleven met bloemen 1880

Editor: We are looking at "Stilleven met bloemen," a print made with the etching technique by Louis Marie Lemaire around 1880. There is an antiquated, peaceful stillness to the whole piece, it's kind of fascinating. What do you see in this piece, especially from a historical standpoint? Curator: This print embodies the late 19th-century art market’s complicated relationship with Impressionism. Its monochrome execution signals an accessibility, intended for middle-class consumption through print culture, making 'high art' accessible. Have you considered that prints democratized art? Editor: I hadn’t considered that angle before. So, the choice of etching wasn’t purely aesthetic but a conscious decision to broaden its appeal and audience? Curator: Exactly. The “originality” of art became a contested term, especially since new markets and exhibition strategies, like department store displays and smaller gallery spaces, embraced prints and photography to broaden the availability and recognition of art beyond the elite circles. Also, consider that the ‘intimacy’ of the still life genre allowed everyday citizens to enjoy something beautiful. Do you find it to be simply ‘decorative?’ Editor: I do get that ‘decorative’ vibe a bit but, recognizing its wider cultural distribution…it feels far less simple. The ability to be reproduced definitely reframes the power of artwork. Curator: Precisely! This piece, then, isn't just about pretty flowers; it's a cultural artifact that sheds light on how art was consumed and perceived. What seemed “simple” can expose how we all participate in the distribution of value. Editor: I now look at "Stilleven met bloemen" with an entirely new lens. Thanks! Curator: A lens focusing on both art and its audience!