Grand Fantastical Parade, New-York, December 2, 1833 1833

David Claypoole Johnston created this print, Grand Fantastical Parade, New York, December 2nd, 1833, using etching and watercolor. It's a satire, a send-up of social pretensions and political posturing. The very nature of printmaking lends itself to this kind of commentary; it's a relatively democratic medium, capable of circulating widely. Notice how the etched lines define the figures with sharp, almost cruel precision. Johnston then adds watercolor washes, not to beautify, but to heighten the absurdity. Look at the way he renders the costumes, especially the pointed hats and oversized banners. They are so detailed, it's like he wants you to see every stitch, every brushstroke, every flaw. This is where the material really comes into play. Printmaking, by its nature, is about reproduction and distribution. Johnston used this to spread his critical view. The amount of work involved in such detailed etching and coloring emphasizes the labor, highlighting the social context of class, politics, and consumption. Ultimately, Johnston's print challenges traditional notions of fine art. It's a powerful statement made through accessible materials and processes.