Ce bon M. Ratapoil leur a promis ... c. 19th century

Editor: This lithograph, “Ce bon M. Ratapoil leur a promis…,” or "That good Mr. Ratapoil Promised Them…," is by Honoré Daumier, from around the mid-19th century. The style is very linear and somewhat caricaturistic, but the subject matter makes me wonder if it’s something more than just a funny image. What story do you think Daumier is trying to tell? Curator: Daumier was a master of social commentary. This image critiques the political climate of France after the 1848 Revolution and the rise of Louis-Napoléon Bonaparte. "Ratapoil" was a character Daumier frequently used as a symbol of Bonapartist thugs, spreading propaganda and intimidating voters. Editor: So the seemingly absurd promise of cooked larks falling from the sky is meant to represent empty political promises? Curator: Exactly! It highlights the gullibility of the public, easily swayed by manipulative figures like Ratapoil. The hunched figures gazing upwards, eagerly awaiting their promised reward, are symbols of a public desperate for change and prosperity, yet tragically misguided. Notice how Daumier uses strong contrast in the linework to further highlight Ratapoil's sinister appearance as he fades away in the distance behind these citizens. Editor: The way Daumier exaggerates their features really drives that point home. He’s not just making fun of them, he’s criticizing the system that allows this to happen. Do you think that lithographs like this actually made a difference back then, like swayed public opinion in any significant way? Curator: Absolutely. Daumier's work was widely circulated in newspapers. Images like this fuelled the Republican cause by visually dismantling the Bonapartist narrative, one that perpetuated empty dreams to vulnerable groups. It was part of a broader visual culture shaping public opinion and political discourse. Editor: It’s fascinating how art can be used as a tool for political change. Curator: Precisely! Daumier’s art is an incredible example of how closely social commentary, political realities, and artistic expression can intertwine. I have gained so much in appreciating the nuance with which Daumier employs metaphor here. Editor: It really makes you think about the power of visual storytelling.