Molière's Tomb, Père-Lachaise Cemetery, Paris and the Old Gate of the Palais de Justice, Paris 1854

Curator: This is "Molière's Tomb, Père-Lachaise Cemetery, Paris and the Old Gate of the Palais de Justice, Paris," an etching by Charles Meryon, created in 1854. It resides here at the Art Institute of Chicago. Editor: My initial impression is somber, yet powerfully symbolic. The stark contrast in tones evokes a sense of history weighed down by the gravity of time. The meticulous detail invites closer inspection, pulling us into the artist's perspective. Curator: Meryon, deeply influenced by Romanticism, often chose to depict scenes of urban decay and architectural relics, imbuing them with layers of political and social commentary. In this work, the juxtaposition of Molière's tomb with the Palais de Justice opens up interesting avenues of inquiry. What might this imply about societal memory and the systems of power in 19th century France? Editor: I think Meryon is pointing to the theater's role, embodied by Molière, against the cold, hard institution of the justice system. Perhaps suggesting a critique of societal values or the artist grappling with his own role within these structures. The monstrous figure floating above the Palais also points towards corruption. The composition forces you to ask about what forces control narrative. Curator: Precisely. The Palais, then, serves not merely as a depiction of Parisian architecture but becomes a symbol of institutional power, perhaps even repression. Considering Meryon’s documented struggles with mental health, do you think this image can be interpreted as a manifestation of his anxieties about authority and social structures? Editor: It's definitely a productive lens through which to consider his art. Meryon's choice of etching allows for those fine lines, a network that can be taken as suggestive of entrapment, echoing the feeling of being ensnared by forces beyond one's control. And his style also suggests an interrogation into who is granted permission to be an artist. As someone on the margins himself, did he use the stage to suggest a space for the othered to be heard? Curator: And Molière's tomb then, standing in contrast, becomes not only a memorial but perhaps also a space to reflect on art's subversive power to critique and, perhaps, even resist dominant ideologies. Meryon gives a ghostly prominence to subjects, who were equally contentious, in French culture. Editor: This really is a piece that speaks to the layers of meaning embedded within seemingly straightforward architectural renderings. Meryon's artistry makes us consider not just what we see but what those structures signify about society. Curator: Absolutely, making this etching an incredibly rich visual and social document.