Il n'y a pas a dire, il faut que je traverse ce... bois... 1845

Editor: This lithograph from 1845 by Honoré Daumier, titled "Il n'y a pas a dire, il faut que je traverse ce... bois..." roughly translates to "There's nothing to say, I must cross this... woods...". The title itself is so intriguing! What strikes me is the contrast between the finely drawn figure and the dense, almost overwhelming darkness of the forest. What do you make of it? Curator: Well, focusing on the lithographic process itself, consider the socio-political context. Daumier, through his printmaking, made his art accessible to a wider, middle-class audience. How does this relate to the themes he’s exploring, like class and social commentary? Think about the materials: the greasy crayon, the limestone slab, the printing press. Editor: I hadn’t thought about that aspect! So, the *medium* is inherently democratic? The caricature suggests he’s poking fun at someone, maybe from the bourgeoisie given his attire, trying to navigate… something? A difficult period maybe? Curator: Precisely! The *means* of production shapes the *message*. Look closely at the textures he’s created. Notice how the use of lithography mimics the effects of drawing. Do you see evidence of erasure or changes? That speaks to the artist's hand. How is that hand positioned within a world being transformed by industry and the rise of the merchant class? He is questioning that power with this drawing in mind! Editor: Ah, the layering makes the woods appear more and more like an inescapable prison or some tortuous fabrication in his head. I now think that’s an element of its social criticism - the character appears consumed by this… "bois." Curator: Right! It is about reflecting critically on the production of the art. In our examination of materials and production, perhaps we are better able to appreciate not just the ‘what’ but also the ‘how’ and ‘why’ behind this image. Editor: Absolutely! I’ll never look at a lithograph the same way again. Thanks, this was invaluable!