Bagpiper 1735 - 1750

Editor: This little sculpture, "Bagpiper," dates back to between 1735 and 1750. It's made of porcelain, and it's here at the Met. I'm struck by its sort of folk-art feel, almost like a caricature. What can you tell me about this work? Curator: It’s fascinating how seemingly simple objects like this "Bagpiper" can offer a glimpse into complex societal dynamics. While appearing as a mere decorative object, we must ask: who was this porcelain figurine made for, and what values does it uphold? Editor: Good question! It looks like something you'd see on a wealthy person’s mantelpiece. Curator: Exactly. During the 18th century, porcelain figures like these weren't just decorative; they were potent signifiers of wealth, status, and taste within a burgeoning consumer culture. By depicting the figure of a humble musician, they allowed wealthy patrons to project a particular image of themselves— perhaps as enlightened, cosmopolitan connoisseurs. Editor: So it’s not necessarily a celebration of folk music. Curator: Not inherently, but we must analyze its function within systems of class, labor, and representation. This bagpiper embodies existing power structures by aestheticizing a romanticized notion of rural life for a privileged elite. It reflects their desire to own objects embodying an ideal vision of society and reinforces established cultural hierarchies. Do you notice how this contrasts with how the labor that went into its creation might have been far less romantic? Editor: Yes, there’s real disconnect there. It's also thought provoking to consider art this way - as not just decorative or representational but deeply connected to class and social dynamics. Curator: Exactly, analyzing pieces within intersectional frames that incorporate social and political theory allows art to spark discussion about cultural power.