The Jolly Man 1894

Curator: This is Timothy Cole's "The Jolly Man," a wood-engraving dating back to 1894, now housed here at the Minneapolis Institute of Art. Editor: Well, jolly he seems. There’s a glint in his eye, and his mouth is hinting at a story just waiting to tumble out. A raconteur, definitely, caught mid-anecdote. Curator: The realism in Cole's technique is quite impressive. Consider the meticulous details of the ruff, or the subtle rendering of textures within the woodcut. The material process itself speaks volumes about printmaking’s crucial role in democratizing access to images at the time. Editor: Yes, that ruff! Almost painfully detailed in its precision. The light sort of vibrates across it, despite the print's inherent…stillness, I suppose. He does seem rather stiff, like posing in clothes borrowed for the day, all just slightly ill fitting! Curator: Indeed. These engravings, especially in portraiture, were circulated widely in periodicals and books. Note the scale of the man and how it demands a degree of presence despite being only an ink rubbing, inviting us to think about art’s mass appeal at that moment of transition. Editor: Interesting to think of him as reproduced on a newsstand... but stripped of color, stripped down to ink. Suddenly, the 'jolliness' reads a little bit different now, slightly somber. And look how the dark, broad hat pushes us forward in its shadow, but it feels...isolating somehow? Curator: The social and economic factors impacting art distribution often shaped how people interacted with images and concepts like ‘jolliness’. In Cole's work, art consumption, commercialization, and even notions of craftsmanship find new expression. Editor: Maybe. It is a striking face to study regardless. He’s probably best left in a pub than in newsprint now, as far as I am concerned, holding forth as jolly men are want to do. Thanks, I appreciate that extra…depth. Curator: Of course, providing tools and pathways is what drives the whole project in many senses; so my thanks to you as well.