Vaas, stoel, doopvont en bankje 1817

Curator: This meticulous drawing, simply titled "Vaas, stoel, doopvont en bankje," or "Vase, chair, font, and bench," comes to us from Pietro Ruga, dating back to 1817. Executed in pencil and ink on paper, it reflects the neoclassical obsession with form and symmetry. Editor: My first thought? It looks like architectural doodles from a particularly stylish civilization. Gives off a faint air of austere beauty. Makes me wonder if Ruga was designing for the gods themselves! Curator: Interesting that you mention gods, because Neoclassicism, as a movement, consciously sought to revive the aesthetic and, indeed, the perceived values of ancient Greece and Rome. There was an aspiration to project a sense of order and reason after periods of revolution and upheaval. The clear lines, the idealized forms… it all spoke to a yearning for a return to what was seen as a golden age. Editor: A golden age of… furniture? Don’t get me wrong, the guy clearly knew his lines, but there’s something a bit clinical about the whole thing. Like, imagine actually sitting on that bench – probably needs a cushion. Curator: But consider the socio-political context! This wasn’t just about furniture; it was about crafting a visual language that aligned with particular ideals. Ruga, through this drawing, participates in the wider cultural discourse that uses art to communicate messages about power, morality, and societal order. Editor: Hmm, power, morality, and a sore bum. You know, it’s funny, isn’t it? How something so… formally rigid can be interpreted as conveying such weighty stuff. Still, I get a kind of calm from it. It’s all so precisely put together, it’s kinda soothing, in its own way. Curator: I agree. The clarity allows us to see these objects, not merely as utilitarian things, but as embodiments of a specific cultural project—the forging of an identity rooted in the past, yet oriented towards a desired future. Editor: Alright, alright, I’m convinced. Ruga’s not just sketching chairs and vases, he's sketching a whole world. A stiff, perfectly symmetrical world. So, thanks to Ruga for expanding my imagination, even if I’d probably choose a different seat.