The Temptation c. 19th century

Curator: This is Honoré Daumier's "The Temptation," a print held in the Harvard Art Museums collection. It's searing, isn’t it? Editor: Utterly! I feel like I've stumbled into some back alley deal gone wrong. The mood is definitely shady, fueled by greed, with a strong undertone of political satire I think. Curator: Precisely. Daumier was a master of lithography, a medium that allowed for mass production of scathing social commentary, distributed widely through newspapers and journals. Editor: It’s the exaggerated features that grab me—the almost demonic figures surrounding the central character. It evokes a medieval morality play, but with politicians instead of devils. Curator: Absolutely. Daumier relentlessly critiqued the bourgeoisie and political corruption of his time. He focused on the institutions and systems that perpetuated inequality. Editor: Looking closer, I can almost hear the scratching of his lithographic crayon on the stone, mirroring the scratching for power that these characters embody. There's an unsettling intimacy. Curator: Intimacy is key. He made this accessible in ways painting could not. What resonates now, is the timeless critique of power structures. Editor: Indeed. It makes you wonder about the temptations we face today, and who's holding out the crown. Curator: A sobering thought to end on.