Dis donc ... mon mari ...j'ai bien envie d'appeler mon drama ... c. 19th century

Editor: So this lithograph is titled "Dis donc ... mon mari ...j'ai bien envie d'appeler mon drama ..." by Honoré Daumier, from around the 19th century. It's a caricature, and I find the expressions on the figures fascinating, almost theatrical. What strikes you most about it? Curator: As a materialist, I'm drawn to the means of production and how it shapes meaning. This lithograph, being a mass-produced print, speaks volumes about the burgeoning print culture of 19th century France and how caricature became a tool for social commentary. The relatively inexpensive and reproducible nature of the lithograph democratized satire. Editor: That’s interesting. How did that material aspect impact its message? Curator: Consider the context: the Industrial Revolution, the rise of the bourgeoisie. Daumier's use of lithography allowed his social critiques to reach a wide audience, far beyond the traditional art world. The print itself is the medium for propagating views on social mobility, labor and class. This particular print touches on the production of theatre – specifically the woman as a writer, who likely belongs to a higher class due to her pursuit. Does the image reinforce class distinctions or attempt to subvert them, do you think? Editor: It's like the materials and methods amplify Daumier’s message and its accessibility. I see how the lithographic print itself challenged conventional elitism in the art world at the time. Thanks for your perspective! Curator: And your insights highlight how artists can address gender imbalance of access to professional careers with material affordances!