The Past, the Present, the Future, plate 349 1834

Curator: Honoré Daumier created this lithograph, titled "The Past, the Present, the Future," back in 1834. It’s part of the Art Institute of Chicago's collection. What are your immediate thoughts? Editor: Wow, talk about a mood! That is one grumpy-looking head. I mean, the way the artist has drawn those folds of flesh... it's almost sculptural, like he’s been carved out of some seriously dense rock, and about to explode. Curator: Indeed. Daumier was a master of caricature, and he used his art to comment on the political and social issues of his time. Lithography was perfect, because his images could be reproduced for mass consumption in newspapers. It ensured his critical voice was widely disseminated. Editor: A weaponized artwork, love it. Seriously, look at the layering of faces within the face! It gives this sense of being weighed down, suffocated by history maybe, while squinting blindly ahead. Very evocative, very emotional, like looking at the embodiment of temporal dread. Curator: That interpretation is supported when we see what Daumier does with titles, captions, and texts included directly in the print. “Le passé”, “Le présent”, and “L’avenir”—the past, the present, and the future. It speaks volumes. His lithographs often targeted the bourgeoisie. It would be shown in places such as “La Caricature” journal, for example. Editor: Ha! That just gives it another layer. Makes me think of the old saying that the bourgeoisie are crushed under the weight of their past… trying desperately to cling to the present. No future! He nailed the pompousness. I can feel the stifled fury through the pencil. Curator: I agree that Daumier captured not just a physical likeness, but the very essence of a social class grappling with historical change and economic dominance. The artwork shows art having teeth and a loud voice in cultural settings. Editor: Well, it sure made me reflect on time, class and anger, not necessarily in that order. This curmudgeonly figure really sums up my mood on Mondays, actually. Curator: A truly versatile piece, even almost 200 years later! Thanks for that engaging perspective.