"The Wedding Night" from The Complete Works of Béranger 1836

Editor: This lithograph, “The Wedding Night” by J. J. Grandville, dates back to 1836 and is currently housed at the Met. It depicts a band of musicians, and what strikes me most is their isolation, despite being in a group and, presumably, at a lively event. What do you see in this piece? Curator: Indeed, the isolation you sense is palpable. From a historical perspective, consider the rising popularity of satirical prints during this period. How do you think Grandville uses imagery to comment on social expectations around marriage and perhaps, the role of music within that institution? Notice the contrast in expressions: some appear disengaged, others intense. Is Grandville perhaps critiquing the performative nature of social celebrations, suggesting an underlying discord or detachment even during supposedly joyous occasions? Editor: That’s a fascinating angle. The different expressions really do stand out now that you mention it. So, this isn't simply a snapshot of musicians; it’s a commentary on societal rituals? Curator: Precisely. Grandville's choice of lithography allowed for mass production, meaning this social critique could reach a wider audience. What impact do you think this accessibility had on shaping public perception of marriage rituals and musical performances? How did this piece contribute to, or challenge, the prevailing attitudes of the time? Editor: I hadn’t considered the print's distribution. The thought that it could actually influence public opinion gives the artwork more agency. Thanks for that insight. Curator: My pleasure. These types of prints acted as vital instruments in social discourse, mirroring, shaping, and often challenging cultural norms. Recognizing this interplay between art and society offers profound insight into its enduring significance.