The Fallacy of Hope 1851

Count Alfred Guillaume Gabriel D'Orsay created this print, titled ‘The Fallacy of Hope’, with graphite on chine. The image presents a man standing with his hands clasped. His gaze is directed downwards, his posture suggestive of pensiveness or concern. The act of clasping hands is a potent symbol that traverses epochs, reflecting deep-seated human emotions. In antiquity, it could signify agreement or sealing a pact. Yet, in moments of private contemplation, as seen here, the clasped hands become an emblem of inner turmoil. Think of Rodin’s sculpture, ‘The Thinker’, or, more profoundly, consider the countless depictions of the Madonna, her hands clasped in prayerful supplication. These shared gestures become part of our collective consciousness, a visual language inherited across generations. This motif taps into our shared anxieties and expectations, revealing a potent psychological depth. What we see here is not merely a portrait but an echo of humanity’s perennial struggle with optimism and disillusionment.