Twee Bretonse geliefden c. 1845

Curator: Let's talk about this intriguing print, "Twee Bretonse geliefden", or "Two Breton Lovers," created around 1845 by Émilien Desmaisons. It’s an engraving, currently residing here at the Rijksmuseum. Editor: My first impression is the delicate atmosphere; it's almost dreamlike. There’s a softness in the lines that creates an intimacy between these figures. It certainly evokes a sense of romanticism, a longing for something perhaps. Curator: Absolutely. The choice of engraving, a meticulous printmaking process, lends itself to such fine detail. Think of the labor involved in etching those lines! It speaks to a society valuing handcrafted, reproducible images for wider consumption. Consider how the printing press democratized images that had before been accessible to only elite classes. Editor: Yes, but who are these people being depicted? The title says “lovers”, but that’s only part of the story. The clothes are significant. The woman wears a cap signaling some affiliation. Perhaps this print romanticizes the rural population and presents an accessible model of virtue that counters the social upheavals of the industrializing 19th century. Curator: An important point! By situating them in the rural area of Brittany, Desmaisons is connecting this loving encounter with local culture, folklore and history. And, that makes this a perfect example of Romanticism; a deep yearning for an idyllic rural past. Note the way their gestures reinforce traditional gender roles, the woman seated reading with a look of quiet acceptance, while the man seems to address her, leading with expression. Editor: I’d push back against seeing her expression as passive acceptance. To me she is participating actively and is engaged in listening to him, with perhaps a bit of subversion—she’s in the midst of learning to read or write, challenging limitations placed upon women in the era. Curator: That opens an avenue of analysis to consider these tensions: she holds a book, as education and information begin to shift modes of power. These new opportunities in this context begin to push up against the old conventions of labor in a new modern market economy. Editor: It adds to the overall nuance; that the simplicity depicted is both authentic and staged for societal needs and functions. And I think, overall, the success of this piece lies in that tension between desire, work, love and what is permissible in the market. Curator: Indeed. This print showcases not just artistic skill, but also reveals how images played a vital role in constructing and disseminating social values, all through this engraving process. Editor: It certainly reminds us that images aren’t just mirrors; they’re active agents in shaping identity, reflecting societal desires, class tensions and the constraints and challenges of identity during the era.