Plate 1837 - 1857

Editor: We’re looking at a ceramic plate, dating from 1837 to 1857, crafted by William Ridgway & Co. It’s currently held at the Metropolitan Museum of Art. There’s a certain quaintness to the monochromatic landscape depicted, although it's damaged. What aspects of its design do you find most compelling? Curator: The charm lies in the contrast between the idealized scene and the materiality of the object itself. Note the circular format; how the central image functions within that boundary, almost contained, which gives rise to questions about representation versus reality, or the interior, subjective world set against the external, observable world. The decorative border, how does its design enhance or detract from the central landscape? Editor: I see what you mean! The border is interesting - those repeating patterns contrast against the pictorial depth of the landscape. Curator: Precisely! The materiality is of significant importance here, it brings forth concerns about form and function and decoration. The plate as functional object, but here it takes on the artistic expression of a decorative piece. Does this change your interpretation? Editor: I guess it adds another layer to it - the form of the plate informs the landscape scene as if the scene existed for the plate. It calls attention to its artificial nature, how constructed it all is. Curator: The dialogue between form and representation is really the central theme and can give the artwork deeper and different significance. How might semiotics inform our understanding? Editor: I’ll need to reflect on that some more! But I appreciate your highlighting how the material and the scene interact.