Diner du Bon Bock 1890

Curator: This work, dated to 1890, is entitled "Diner du Bon Bock" by Théophile Alexandre Steinlen. Executed with pen and ink on paper, this print gives us a glimpse into Parisian life during the Impressionist era. Editor: Immediately I see a playful chaos, a swirling energy—like a memory half-dreamt, half-lived. The figures seem suspended, caught between caricature and fleeting impression. The overall tone feels both humorous and somewhat melancholy. Curator: Yes, the caricature is definitely present, alongside narrative-art elements; we're getting not just portraiture here, but also elements of social commentary blended into this chaotic composition that evokes both genre painting and cityscapes. The lines almost feel symbolic in places. Editor: Symbolism definitely infuses the scene! The scattered vignettes—figures relaxing, others engaged in activity against that sprawling landscape— hint at something just beyond our immediate grasp. I'm particularly drawn to the lettering—how it almost dances across the image. The landscape, the "ukiyo-e," isn't this what influenced Degas or Cassatt and helped form their Impressionism? Curator: It does appear he integrates the feel for the Ukiyo-e in the rendering style. Considering the title, "Good Beer Dinner", this also feels as if Steinlen used these visual strategies in conjunction to evoke the spirit of conviviality, but the drawing's chaotic form creates an almost satirical note to it all. Editor: The composition overall is what keeps pulling me in though; that interweaving of text, image, and landscape creates this uniquely intimate moment frozen in time. What is more impressionist than that! Curator: I concur completely. And perhaps it's that very quality which resonates with viewers even now. The symbolic overtones elevate a simple scene to something universal and deeply felt. Editor: It certainly elevates the drawing. This makes me crave a good "Bon Bock" on a Parisian afternoon to figure all this out.