This picture is one of the most celebrated examples of how art takes the position of a moral canon to teach us about emotional equilibrium in life. Surfacing in Alan de Botton and John Armstrong’s “Art as Therapy”, this picture shows a couple unconsciously becoming a language of grief in public while being perched on a court bench. While man’s face is lost in obscurity, something that may flow from his complete loss of understanding of this relationship, the woman finds herself under the light and hence becomes the focal point of the artwork. The scarf adorning woman is silently staring at a space within the picture showing signs of being lost in contemplation. The ‘would have been(s)’ of life are coming back to haunt her as she prepares to embrace a so called ‘immoral’ act of taking divorce. This idea of contemplating the choices is the central argument of the artwork; for the representation of oblivion through the figures in the background show the smallness of one’s tragedy in others’ eyes.
Alan de Botton argues that art can be an attempt to encourage our better selves through coded messages of exhortation and admonition, i.e., art can help us in balancing our emotional life by exposing us to emotions that stops us from fulfillment or equilibrium. For instance, a fighting couple may not be able to evaluate the level of grief they might face at the day of divorce and this artwork might make them aware of that. Therefore, art for de Button is important in creating equilibrium in ourselves.
Moreover, the very fact that the picture lacks normative attitude and shows the scene as it is shows that art doesn’t claim the space of moral canon as understood by the society. Rather, it shows the consequent side of not abiding to a particular moral standard and leaves the choice to the spectator.