Onderschotel van terrine met deksel c. 1760 - 1775

Editor: This is a porcelain dish, called "Onderschotel van terrine met deksel," or Terrine Lid Saucer, made around 1760-1775 by Joseph Hannonge. The floral design seems almost scattered across the surface. What catches your eye, looking at it from a formal perspective? Curator: The Rococo influence is quite evident in the asymmetry of the floral arrangements. Notice how the main bouquet is off-center, drawing the eye along a diagonal. The play of color, primarily soft pastels against the white porcelain, creates a delicate balance, yet the central tulip presents a bold focal point through its contrasting coloration and volume. Editor: So, the off-center design isn't a flaw, but a deliberate aesthetic choice? Curator: Precisely. Formalism compels us to consider intention in composition. Observe how the scalloped edge echoes the organic shapes of the flowers, enhancing the overall sense of movement and the subtle graduation of each of the scalloped sections. The subtle use of negative space becomes an integral component, structuring perception in this particular arrangement of material components. Editor: That makes me see it differently. The empty space feels less empty now, more like it’s part of the composition. The different groupings have varying colors that offset each other. Curator: Yes. Consider, also, the craftsmanship itself. The artist meticulously rendered each petal and leaf, showcasing their skill and highlighting the inherent qualities of the porcelain as a medium, allowing the purity of the white porcelain to amplify each chromatic hue, adding another level of textural detail to the dish, a critical perspective often ignored in stylistic evaluations. Editor: I see! The way the artist balanced detail and restraint is fascinating. Thank you for drawing my attention to that. Curator: Indeed, sometimes what’s omitted contributes just as significantly as what’s included. Reflecting upon art via materiality gives voice to unspoken aspects.