Tilt Table c. 1937

Editor: Here we have Ferdinand Cartier’s "Tilt Table" from around 1937, a drawing rendered in watercolor. It feels so meticulously observed, like a catalog entry, but something about its isolation gives it a quiet sort of dignity. How would you interpret this work? Curator: It's interesting you use the word 'dignity'. I see that, too. In its precise rendering, Cartier elevates what is essentially a functional object. Consider the social context of the 1930s. Mass production was becoming increasingly prevalent. Do you think Cartier might be subtly making a statement about craftsmanship and the value of individual design in an era increasingly dominated by industry? Editor: That’s a perspective I hadn't considered! It reframes it less as just a record, and more as an argument about design principles, almost. Do you think it would've been commissioned by the furniture maker? Curator: Possibly. Commissions like this were ways for artisans to document and promote their wares. However, viewed from today’s lens, Cartier's approach resists the anonymity inherent in mass-produced items, especially now as design elements become free and open source. It subtly advocates for an authorship, a distinct artistic voice in creation, pushing back on this concept that design should only follow function. What does its “realism” suggest to you? Editor: It makes me think that perhaps “realism” is more about truth of craft. It prompts me to re-evaluate the value of an individual creation against the background of design history, as it moves towards open source. Curator: Precisely. And understanding how such a seemingly simple image engages with those larger socio-political forces is crucial. Thanks to works like this, even everyday objects can speak volumes!