Les Joies Populaires 1895

Editor: So, here we have Théophile Alexandre Steinlen’s *Les Joies Populaires* from 1895, done in mixed media with coloured pencil, giving it an almost newsprint feel. It shows a boisterous crowd. I’m struck by the sort of pent-up energy; what jumps out at you? Curator: Indeed, that "newsprint feel," as you call it, is significant. Consider it as a modern icon, recording and idealizing a fleeting moment of shared public joy. Think of the lanterns; they aren't merely decorations but stand-ins for communal spirit and perhaps even enlightenment ideals. Are they, however, purely joyful? Editor: Well, they're titled “Popular Joys” and there’s “14 Juliet” – suggesting Bastille Day celebrations, but there's something about the figures' somewhat strained expressions. Maybe joy and anxiety coexisting? Curator: Precisely! This isn’t sanitized festivity. Look at how Steinlen captures individual faces within the collective. There’s almost a frenetic energy – the upward gazes, the mouths agape in song or shouts. The red accents throughout, particularly in the lanterns and ribbons, are quite evocative as well, no? Editor: They pull the eye and give a real dynamism to it. It does prompt the question: were these really ‘joys’ for everyone, or did some feel excluded, anxious? Curator: That tension is vital! What memories were the artist keen on reminding you, or reminding them? By framing it this way, how might Steinlen also invite viewers to critically engage with who is invited to these "joys" and whose stories may be untold? Editor: That's a really insightful perspective – it changes how you see the piece. It's a record, but also a question, about who participates and who might be left out. I really appreciate that context! Curator: Glad I could shed light. It all hinges on symbols and memory – how an image resonates across time.