Valentine 1850 - 1860

Editor: Here we have an intriguing mixed-media work on paper, "Valentine," dating from around 1850 to 1860, made by an anonymous artist. It's currently housed at the Met. I’m immediately struck by how intricate and precious it appears, almost like a jewel. What can you tell me about this kind of "fancy picture?" Curator: It's interesting you use the word "precious." These elaborate valentines speak volumes about the burgeoning consumer culture of the mid-19th century. Love was becoming a commodity, performatively displayed through mass-produced yet ostensibly unique objects like this. The visual language – the delicate paper lace, the carefully arranged prints – all points to a rising middle class with the means to express affection in increasingly ornate ways. Consider the labor involved. Does that alter your perception? Editor: Definitely! I was seeing it as a straightforward expression of love, but now I consider the economic and social implications embedded in the piece’s production and reception. What do you think this says about Victorian-era social codes? Curator: These valentines highlight the increasingly regulated rituals around courtship and the public display of emotions. The ambiguity of an unsigned valentine allows for a certain power dynamic. Think about who could afford such a token, and who would be the most likely recipient. Editor: That adds a fascinating layer of interpretation. I hadn’t considered the power dynamics inherent in giving and receiving this type of object. So, more than a simple token of affection, it is performing particular class expectations and economic realities. Curator: Exactly! And in viewing it today, we can unpack those assumptions. How the art market elevated these items from ephemera into valuable collectibles in our modern museum institutions. Editor: I see this piece with completely new eyes now. It's a reminder that art is not created in a vacuum, and the history behind it truly matters.