Twee reliëfs van bloemen en takken, gebeeldhouwd door Jean Herman before 1880

Curator: Before us we have a print illustrating two plaster reliefs of flowers and foliage, attributed to Jean Herman, circa 1880. Editor: Mmm, very plaster-y. They remind me of fancy cake decorations...like, wedding cake decorations! Do you think they served that function? Or something similar? Curator: It is possible; such relief sculptures were frequently incorporated in interior architectural decorations—cornices, over-door embellishments, and the like, particularly within the Neoclassical style so popular during that period. Editor: It definitely gives that ornate, kinda fussy vibe, doesn't it? Like it's whispering, "Don't you *dare* touch the walls." Makes you wonder how many people stubbed a toe on these! Curator: Well, one would expect them to be placed out of the path of heavy foot traffic. I think the interesting element here is the revival of classical forms used to articulate modern sensibilities. It represents the tastes and values of the well-to-do families who purchased and enjoyed it, signaling wealth, education, and status through this visual language of power. Editor: Status ivy, ha! But still, the plaster medium brings an interesting contrast, right? Because isn’t plaster often associated with affordability...versus marble, say? Like a *lite* version of opulent beauty. Did it democratize decoration a little? Curator: Yes, you've pinpointed something quite crucial; plaster allowed for the wider adaptation of sophisticated styles, becoming something like the vinyl siding of grand aspirations. Plaster offered that availability. It is no accident this imagery emerges as industrial techniques rapidly transformed artistic production! Editor: Huh! So, from "look, don't touch," to "touch if you can afford the plaster version!" Okay, history lesson *accepted*. And I actually like that idea more now—sort of like... optimistic imitation. Faking it 'til you make it with flora and foliage! Curator: Precisely! It encapsulates the layered socio-economic currents of its time, quite beautifully actually. Editor: Yeah. Seeing those economic undercurrents... gives them a new dimension, and kinda changes that stuck-up, overly proper vibe. Curator: I quite agree. Always rewarding to revisit supposedly familiar forms with that context in mind.