Study of a cat walking 

Curator: Let's take a look at this sketch; it is simply called "Study of a cat walking," by Théophile Alexandre Steinlen. Editor: Immediate impression: energy! I see a moment captured, a feline intent beautifully rendered. Curator: Absolutely. It's a pencil drawing, so quite unassuming in terms of materials, but it speaks volumes about Steinlen’s observational skills. Look at the line work – quick, confident, capturing the essence of the cat's movement. It almost anticipates animation. We know Steinlen was very invested in socialist circles, creating for the masses through the illustrated press, and it is relevant to understanding that these 'studies' allowed the swift dissemination of readily available images for mass consumption. Editor: I agree. And there’s a vulnerability to it too, despite that purposefulness. It’s a glimpse, an unfinished story—which almost adds to the sense of movement, a “coming to life,” which brings me a certain kind of joy and peace. And look how he captures the pose! Not static at all. The cat looks almost weightless! Curator: He avoids overly sentimental depictions of animals that often flooded the marketplace. The accessibility of drawings and prints was definitely a powerful means of getting political or social messages to a broader audience and it’s not farfetched to suggest the artist’s choice to capture readily observed events, like a cat, provided that audience a way to connect with a rapidly industrializing, increasingly alienating context. Editor: Exactly! And that quickness allows for such fluidity, a raw sort of beauty in the imperfection, one that allows us as viewers to come closer, engage, maybe even reflect about a much deeper significance of something ordinary. It’s about capturing a real cat, in real movement! Curator: Indeed. It’s a deceptively simple work, layering keen observation, artistic skill and its role in material networks with great impact. Editor: Beautifully put. Now I’m left with even more questions.