Mon Oncle Hilaire 

Editor: Here we have “Mon Oncle Hilaire,” a drawing by Théophile Alexandre Steinlen. The artwork uses primarily pencil and pastel, though there appear to be pen marks in the figures, too. There's a real contrast in attire and the textures create a compelling, if unsettling, visual. What strikes you about this composition? Curator: Immediately apparent is the dynamic between line and form. Notice how Steinlen utilizes a dense hatching technique to sculpt the figures on the right, endowing them with a sense of weighty presence, especially the mass and texture of the wool. But on the left the female figure appears almost flattened in form and line. How does the artist’s deliberate alteration of contour and value define two separate classes? Editor: I see that the texture and form seem less defined on the left side. How do you see the stylistic choices contributing to a story? Curator: It’s fascinating how the artist uses impressionistic techniques to achieve class disparities. The choice to depict these figures with loose lines versus a tighter composition can lead one to interpret that these two classes don’t coincide together. Consider how the tonal variations affect the overall spatial composition. Does the lighting deepen this divide, perhaps symbolically representing disparate social standings? Editor: I hadn't thought of the light playing a role, but that makes sense, providing a social commentary of sorts. Thank you for expanding my view! Curator: Indeed, contemplating these formal decisions, we grasp how Steinlen’s art transcends mere representation, inviting us to reflect on the structural inequities inherent in his society.