Tribune en balkons met publiek in Théâtre Gymnase in Parijs 1895 - 1900

Editor: This is Édouard Vuillard's "Tribune en balkons met publiek in Théâtre Gymnase in Parijs," a lithograph and watercolor print created around 1895-1900. I’m struck by how enclosed the space feels, almost claustrophobic despite being a public theater. What do you see in this piece? Curator: I see Vuillard capturing a specific segment of Parisian society and their relationship to spectacle and spectatorship. Consider the context: late 19th-century Paris, a period of immense social and political upheaval. This print offers us an intimate, yet fragmented glimpse into the cultural consumption of the bourgeoisie. It begs the question, who has access to the arts and cultural experiences? Are we observing an egalitarian society or is the space itself structured by social hierarchy? Editor: So, you’re saying the print isn't just a scene, but also a commentary? Curator: Precisely. Vuillard was closely associated with the Nabis, and their engagement with Japonisme, along with intimate scenes of domestic life, can all be found within this work. Ask yourself, whose story is being told here? And whose story is being left out? What can be said about women in society based on how Vuillard presents them? Editor: It makes me wonder if he's trying to reveal the performative aspect of attending the theatre itself, observing those observing, and the politics of leisure and spectatorship within that context. Curator: Exactly. It underscores the idea that the theatre, and the consumption of art, weren't neutral activities. How might our interpretation shift if the print depicted another group of people, people with diverse gender or race, or economic class attending the same event? Editor: I see. Thinking about it that way really opens up a discussion on representation and access. It highlights the societal power dynamics. Thanks. Curator: It’s through this intersectional lens that we can start to truly understand art's complex relationship to power and society.