The duchesse de Berry 1815 - 1825

Editor: Here we have a bust, “The duchesse de Berry,” crafted from porcelain around 1815-1825 by the Denuelle Manufactory. It’s striking how smooth and almost ethereal the porcelain appears. What’s your perspective on this piece? Curator: Well, let's consider the social context. This isn’t just a sculpture, it’s a product of the Denuelle Manufactory. We need to ask, who were the artisans who molded this porcelain? What were their working conditions? This represents more than just artistic skill; it reflects a specific mode of production and consumption during that time. Editor: So you see the piece less as a representation of the Duchess herself and more as a product of the factory system? Curator: Precisely. The very material – porcelain – speaks to global trade networks, access to kaolin clay, and the technological advancements in kiln firing. How does this mass-produced ceramic object, mimicking the aesthetic of marble sculpture, challenge the boundaries between "high art" and industrial craft? Consider the division of labor involved. Who designed it? Who cast it? Who applied the gilded details on the base? Editor: That's a great point. I hadn't thought about the contrast between the supposed timelessness of sculpture and the industrial reality of its production. So, even its "classic" style is really an assertion of control and power over material and labor? Curator: Absolutely. This seemingly simple portrait is interwoven with power dynamics and industrial processes that demand our scrutiny. Understanding its materiality provides insight into the historical circumstances surrounding its creation and consumption. Editor: I see it in a whole new light now! It's fascinating to consider how materials can reveal so much about history and social structure. Thanks for this different angle on reading the sculpture. Curator: My pleasure. Materiality isn't just about what things are made of; it’s about how they’re made and what those processes reveal about society.