Un banc d'omnibus, Gravure, 1829
Unlike the previous caricature from 1830, the above engraving from 1829 offers a unique perspective into the experience of riding inside an omnibus and social spaces it created. Moreover, the image is less exageratted and perhaps provides a more nuanced portrayal of the social environment of the omnibus.
A foremost feature in the image is the conductor of the omnibus approaching the police officer, presumably asking for fare. In a certain sense, this would appear to suggest the pubic, classless omnibus somehow changed, or even upset, traditional social relationships: The police officer is certainly not in charge of this scene. He is alert, but at rest upon the bench. The conductor, arm outstretched, is clearly in control of this scene.
Indeed, Walter Benjamin mentions omnibuses in The Arcades Project on several occasions. Citing Victor Fournel from 1858: "The omnibus seems to subdue and to still all who approach it." Social relationships were perhaps blurred by this subduing effect, traditional power relationships altered in small, but meaningful, ways. While the caricature from 1830 seems to suggest the omnibus actually enlivened those approaching it, it did remain a center of focus, and yet the 1829 engraving, however, perhaps captures the "stilling" affect of the omnibus. The people are watching one another: They are not in movement.
To the immediate right of the police officer are a woman and a man, both of whom appear to be listening to (or at least watching) another woman in a bonnet speak as she watches her child. Between the listeners and the child are another man and a separate woman passively sitting. The mans arms are crossed, his position somewhat cramped. He appears to be watching the woman and child out of the corner of his eyes, somewhat disapprovingly. Indeed, despite her physical proximity, the sounds of talking (and probably the sound of her child) is invading his auditory space. Yet, for the speaking woman, the bonnet serves as a sort of spacial tunnel. She does not appear to be capable of seeing the man.
Their understandings of the space of this train are quite different. For the man, she is invading his space. The woman, however, does not appear to share his understanding of space. This is the central tension of this photo and, in some sense, of public space more generally: How can people ever share the same understandings of space? How can they see spaces in the same way?
Generally, the image above does seem to illustrate Onzième's notion that the omnibus is a stage and passengers "are spectators of each other's performance." The man furthest to the right is certainly watching the girl rather intently with a reprieving glare.
Another interesting feature of this photo is the gender distribution. There appear to be 6 females, including the child, and 5 males. Apparently the engraver envisoned the omnibus as a relatively "gender neutral" space: The males do not appear to be taking up more space than the women nor are they occupying more desirable or comfortable spaces. They are all relatively cramped, sharing the same bench.
A foremost feature in the image is the conductor of the omnibus approaching the police officer, presumably asking for fare. In a certain sense, this would appear to suggest the pubic, classless omnibus somehow changed, or even upset, traditional social relationships: The police officer is certainly not in charge of this scene. He is alert, but at rest upon the bench. The conductor, arm outstretched, is clearly in control of this scene.
Indeed, Walter Benjamin mentions omnibuses in The Arcades Project on several occasions. Citing Victor Fournel from 1858: "The omnibus seems to subdue and to still all who approach it." Social relationships were perhaps blurred by this subduing effect, traditional power relationships altered in small, but meaningful, ways. While the caricature from 1830 seems to suggest the omnibus actually enlivened those approaching it, it did remain a center of focus, and yet the 1829 engraving, however, perhaps captures the "stilling" affect of the omnibus. The people are watching one another: They are not in movement.
To the immediate right of the police officer are a woman and a man, both of whom appear to be listening to (or at least watching) another woman in a bonnet speak as she watches her child. Between the listeners and the child are another man and a separate woman passively sitting. The mans arms are crossed, his position somewhat cramped. He appears to be watching the woman and child out of the corner of his eyes, somewhat disapprovingly. Indeed, despite her physical proximity, the sounds of talking (and probably the sound of her child) is invading his auditory space. Yet, for the speaking woman, the bonnet serves as a sort of spacial tunnel. She does not appear to be capable of seeing the man.
Their understandings of the space of this train are quite different. For the man, she is invading his space. The woman, however, does not appear to share his understanding of space. This is the central tension of this photo and, in some sense, of public space more generally: How can people ever share the same understandings of space? How can they see spaces in the same way?
Generally, the image above does seem to illustrate Onzième's notion that the omnibus is a stage and passengers "are spectators of each other's performance." The man furthest to the right is certainly watching the girl rather intently with a reprieving glare.
Another interesting feature of this photo is the gender distribution. There appear to be 6 females, including the child, and 5 males. Apparently the engraver envisoned the omnibus as a relatively "gender neutral" space: The males do not appear to be taking up more space than the women nor are they occupying more desirable or comfortable spaces. They are all relatively cramped, sharing the same bench.
No comments:
Post a Comment