Marriage cup 1825 - 1845

Curator: Looking at this piece, a ceramic "Marriage cup" made between 1825 and 1845 by Peter Löwenick... doesn't it just exude the feeling of a folksong turned tangible? Editor: It does feel incredibly tactile. The material itself – the ceramic – its muted, matte finish... there's an earthiness that feels grounded, like something you'd find in a farmhouse, rather than a palace. It speaks volumes about its probable use and ownership. Curator: Exactly! It is unassuming and familiar! It whispers of simple joys. See how the figures on the frieze appear almost pressed into the clay like memories? The frieze around the top reminds me of how the oral traditions were shared within communities; everyone passing on history! Editor: That's interesting to observe that its message lies in that sense of community! It definitely brings that aspect to the fore and if you look closely it begs the question, what was the labour division involved in its making? Who fired it? Whose hands pressed in those figures? How does this type of craft feed the larger art economy of the time? Curator: Oh, it must've been quite a thing back then. When communities really did depend on skilled craftspeople for items as vital as—a wedding memento. Do you think that makes our experience of art today disconnected? Editor: I do, indeed. Thinking about craft production brings our attention back to the relationship between materials and production. This would likely have been more expensive than one might realize, so its commissioners would likely have come from at least a modest income! We shouldn’t confuse its apparent earthiness as suggesting its availability or accessibility to every section of the population. Curator: That is an interesting idea! The marriage cups may seem to speak to a different, less frenetic and anxious sensibility and to a time of celebration! Maybe these objects acted as an affirmation or assurance from such worries? It's not a simple image of joy, it contains those worries. Editor: Absolutely. Even seemingly simple forms like these offer a powerful lens through which to examine social relationships, labor, and economic power! This earthy thing is an excellent example. Curator: Beautiful. I can't think about it the same way anymore! Editor: Likewise. Considering it through both a material and aesthetic perspective truly expands one’s appreciation.