La Becquée, par G. Delaquys 1900

Editor: We're looking at "La Becquée, par G. Delaquys," a lithograph by Théophile Alexandre Steinlen from 1900. There's something charmingly candid about it, like a stolen moment captured in the bustling city. I'm particularly struck by how the foreground couple is contrasted against the anonymity of the crowd. What stands out to you about this piece? Curator: Well, this image operates on multiple levels. On one hand, we have this seemingly sweet image of affection amidst the urban chaos. On the other, Steinlen, like many artists of his time, was deeply interested in the social realities of Paris. What purpose does the poster have to this scene? Editor: It almost feels like the couple is cocooned in their own world, oblivious to the other pedestrians and advertisements of the time, especially regarding clothing and accessories for women. Curator: Precisely! The "HER DRESS" in the background almost mocks the supposed focus on the commercial aspects of society. Also, consider the visual economy here: the sketch-like quality, typical of lithography, allowed for mass production, making art accessible to a wider audience beyond the elite. What does this choice of accessible media suggest to you? Editor: Perhaps it aimed to depict the lives of ordinary Parisians, not just the wealthy patrons who traditionally consumed art? The artist's sketchbook being a vital part of capturing his day to day! Curator: Exactly! And the style, reminiscent of Japonisme, popular at the time, reflects a global exchange influencing artistic expression. The subject here reflects those exchanges, with clothing having French influences yet Japanese styling. Editor: So, it’s not just a charming snapshot but a comment on society, class, and the role of art in reflecting modern life! I would never have appreciated that so much. Curator: And that interplay of the personal and the political, the local and the global, is what makes this image so compelling and representative of its time.