Two Sleeping Cats 1914

Editor: Here we have Thèophile Alexandre Steinlen's "Two Sleeping Cats" from 1914, seemingly a charcoal or pencil sketch. It feels very intimate, like a stolen glance at a quiet moment. What do you see in this piece? Curator: Immediately, I’m drawn to the materiality of this work. Notice the evident hand of the artist in each line. The work's value, in part, derives not from an illusionistic representation but from visible labor and materials. It appears mass-produced and accessible – was Steinlen aiming for high art or something different, something circulating among a broader public? Editor: That's interesting. I hadn't thought about the intended audience. So the choice of sketch, almost a printed image, made it more accessible? Curator: Exactly! Consider the historical context. What modes of image production and distribution were most prominent in 1914? This likely wasn't meant for a wealthy patron's private collection. Was Steinlen using these sketches to document everyday life? What about class; do the cats as subject say something? Editor: You’re right. It feels like a study, a preliminary piece. It makes me wonder about the materials. Where did Steinlen source his charcoal, his paper? Were they cheap or more refined materials that reflect a patron class system? Curator: A critical question! Exploring the provenance of materials and how readily accessible they were tells us much about Steinlen's practice and broader cultural accessibility of artistic endeavor in his era. Did the readily available media open artmaking for anyone or still reserved for educated gentry? Editor: I hadn't considered that level of depth regarding material and economic constraints of Steinlen and their artwork production; thanks for helping reveal it! Curator: And thank you. It's a great reminder that even simple sketches can open discussions on art's making, accessibility, and audience.