Objective Non-Empathy in Late Nineteenth-Century France

Throughout the nineteenth century, figurative Western European art was bound to narrative. Stories featured mythical, Biblical, or historical events. Around mid-century, such narrative-driven works began to introduce contemporary subjects in answer to Baudelaire’s call to look to one’s own time for inspiration, and this path had varying outcomes. For some visual artists, this meant showcasing the modernity of urban centers such as Paris and London. When portraying people within these environments, many artists adhered to notions of art’s ability, or even obligation, to portray elements of morality in their works. In choosing to engage with contemporary ethical concerns, these artists made their stance apparent by depicting situations laden with sentimental clues in which the viewer was directed to sympathize with represented figures. Spotting such artworks is rarely difficult as they tend to incorporate stereotypes as perceived and commented upon by the press; an example of this is The Deserted Woman (1852) by Octave Tassert (1800–1874), in which the stimulation of viewers’ pity for the distraught and abandoned woman is its explicit aim. For works to elicit the appropriate emotional response, artists anticipated their audiences’ ability to decode visual cues and, significantly, connect with represented protagonists or victims via empathy.