En choeur. Le soleil est si beau ... c. 19th century

Curator: Looking at this lithograph, it’s hard not to immediately feel a sense of wet, blustery desolation. The figures huddle and shout against the rain, the paper a flurry of anxious lines. Editor: This is "En choeur. Le soleil est si beau ..." by Honoré Daumier, dating from the 19th century. Daumier was, of course, a master of social critique. In this work, from the series titled "The Musicians of Paris", Daumier's making a broader comment about the state of the city's musical scene and how the public funds it. Curator: Precisely. These bedraggled musicians embody the plight of the working class in 19th-century Paris, reflecting the political and social instability of that era. The series, “The Musicians of Paris,” suggests that it's an environment where art must fight for visibility. Note the soaked slippers strewn on the ground. Is it the remnants of some performance gone awry? Editor: Slippers and disarray are classic symbols of abandonment and vulnerability, definitely playing on themes of both failed art and urban disarray. The figure on the left—in declamatory pose with an upturned face—is quite a contrast to his dejected, almost spectral compatriots on the right. What narrative do you suppose he wants to embody for those passers-by? Curator: Possibly to convey passion triumphing over circumstance? Yet, in truth, I see defiance tinged with desperation. Remember, Daumier's work was often interpreted as radical and confrontational, resulting in censorship and imprisonment. This print highlights the precarious relationship between art and the state. Even as Napoleon III sought to modernize Paris as a center for international tourism and business, many Parisians continued to endure dire conditions and had reason to rally against the government. Editor: The repetition of the phrase, "The sun is so beautiful," rendered sarcastic by the downpour, acts like a mantra—a way to keep one's spirit alight despite grim reality. I appreciate the psychological nuance with which Daumier invests this rather everyday urban moment. Curator: The title becomes a vehicle for class criticism. As someone in a position to affect popular opinion and spur revolution, he bears the heavy responsibility to report conditions as they exist, rather than turning away to sing paeans to beautiful sunshine! Editor: Ultimately, this is a powerful representation of human resilience amidst hardship. The city of light obscures real Parisian life from public memory but an artist such as Daumier chooses instead to restore its real emotional tones to life.