Three Pigs Lying in Front of a Shed 1850

Editor: So, here we have Charles Meryon's "Three Pigs Lying in Front of a Shed," an etching from 1850, currently residing at the Met. There's something about the weariness in those pigs that really strikes me. What do you see in this piece? Curator: It's tempting to view this simply as a quaint rural scene, but it's vital to consider the social context of the mid-19th century. Rural subjects gained popularity, didn't they, but how are they *represented*? This seemingly innocent scene, created during a time of significant social and economic upheaval, raises interesting questions. Editor: How so? What questions are you thinking about? Curator: Well, who is the audience for this print? Was it intended for the urban bourgeoisie, perhaps yearning for a romanticized view of country life that concealed the hardships of rural existence? Are the pigs stand-ins for the working class? What is being conveyed about class structure? The artist also presents pigs, which many cultures judge. Are we laughing "with" them, or "at" them? Editor: I never thought about the intended audience before. The pigs just seemed... peaceful. Do you think Meryon had those things in mind? Curator: It's difficult to say definitively, of course. Artists are always constrained by the culture around them. Whether consciously or unconsciously, art is influenced by socio-political undercurrents. Even ostensibly straightforward genre scenes participate in the dominant discourses of the time. How does the placement of the shed function, almost like another character? Editor: That's true, it could symbolize enclosure or limited prospects. It’s given me a lot to think about regarding the portrayal of everyday life. Curator: Precisely. Looking beyond the surface to unpack its possible implications enriches our viewing experience immensely.