Charger with the Banquet from the Parable of the Prodigal Son c. 1740 - 1775

Editor: So, here we have a ceramic charger from around 1740 to 1775, depicting "The Banquet from the Parable of the Prodigal Son," rendered in tempera. It's attributed to an anonymous artist. What really strikes me is how such a debaucherous scene from the Bible gets portrayed on, of all things, a decorative plate. How would you interpret this piece, considering its historical context? Curator: Well, it's important to consider the public role of art in the 18th century. Decorative objects like this weren't just for private enjoyment; they also functioned as conversation pieces, displaying the owner’s knowledge and social standing. The Parable of the Prodigal Son would have been instantly recognizable, but presenting it with such a blatant emphasis on the "riotous living" aspects— gambling, alcohol, maybe some illicit love —speaks to a particular societal commentary. What might that be? Editor: Maybe a subtle critique of excess within certain social circles? Or even a wink to similar behaviours? Curator: Precisely! Think of the rising merchant class, flaunting their wealth. Representing the prodigal son’s excesses wasn’t just moralizing, but perhaps gently mocking or cautioning against unchecked extravagance, particularly within new social structures. And it does it on Delftware; a popular middle class status item, which would itself imply wealth and worldly sensibility. Editor: So, this isn't just about religious instruction. It's about power, social performance, and even some satirical undertones aimed at specific audiences and the socio-political climate of the time. I guess my takeaway is understanding the layered meanings objects could have, well beyond face value. Curator: Exactly. Objects gain new meanings as time goes by, they reflect who is interacting with them and the context from which that engagement occurs.