Twee terracotta schijven met daarop afgebeeld Bacchus en Venus before 1857

Editor: We're looking at "Twee terracotta schijven met daarop afgebeeld Bacchus en Venus," which translates to Two Terracotta Discs Depicting Bacchus and Venus. They were created sometime before 1857, material is terracotta. The composition is interesting, almost like portraits on ancient coins, with that sepia tone adding to the antiquity of the piece. How do you interpret these works within a larger art-historical context? Curator: Considering the socio-political climate of the time, photographing terracotta sculptures of Bacchus and Venus taps into a broader interest in classical antiquity that was pervasive in the 19th century. It's not merely about aesthetic admiration, but a desire to legitimize contemporary social and political structures through connections to the perceived glories of the ancient world. Editor: So, the act of documenting these figures becomes political? Curator: Precisely! The artist, Marcel Gustave Laverdet, isn't simply recording art; he is participating in a discourse about cultural inheritance and power. Consider who had access to classical education and these artifacts. Reproducing them through photography, even in muted tones, broadens their reach while reinforcing a particular vision of cultural authority. How do you think that impacts the viewer's experience? Editor: I see, by displaying classical art it shows some sort of education or even a position of power. I hadn't thought about that aspect of cultural authority. Curator: It's crucial to think about who controls the narrative around art, and what those narratives tell us about society. Editor: This was super helpful. I’ll be more aware now of the impact images can have and the intended message that lies within art. Curator: I think that's a vital perspective for understanding not just art of the past, but also contemporary art's role in shaping public discourse.