Napoleon Toby Jug by Eugene Shellady

Napoleon Toby Jug c. 1937

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ceramic

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portrait

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ceramic

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figuration

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genre-painting

Dimensions: overall: 44.9 x 30.9 cm (17 11/16 x 12 3/16 in.) Original IAD Object: .263 cm(High) .202 cm(Wide)

Copyright: National Gallery of Art: CC0 1.0

Curator: Let’s dive into this ceramic piece: “Napoleon Toby Jug,” circa 1937, by Eugene Shellady. It’s definitely… unusual, blending portraiture with a functional object. How does it strike you? Editor: I'm struck by its almost humorous quality. The Napoleon figure seems so formal and imposing, but then it's a Toby Jug. How should we interpret this type of playful objectification of such a powerful historical figure? Curator: Exactly. Consider the ceramic material itself, historically linked to both the everyday and the commemorative. Mass-produced Toby Jugs were relatively inexpensive, suggesting a certain accessibility and popular consumption of Napoleonic imagery in 1930s Britain. What do you think the artist intended by using this accessible and widely distributed medium for a portrait of Napoleon? Editor: So, it’s not necessarily about celebrating Napoleon. More like using his image for… commercial gain? Highlighting the social impact and reception of figures throughout history? Curator: Precisely! It's about examining the cultural mechanisms of reproduction and consumption. A military leader celebrated on functional dishware blurs lines between "high art" and decorative object. Who was purchasing these pieces, and what role did that act play in the British cultural landscape of the time? Is it mockery, admiration, or simply the appeal of exotic cultures sold by the culture industry? Editor: That’s interesting. Thinking about production, does knowing the ceramic’s maker matter? Are we to look at their artistic contribution, their labour to construct the piece? Curator: Absolutely. The labour invested in the piece further complicates this issue, and the identity of the artisan can open conversations about the means of production behind these "popular" artifacts. Editor: This has given me a lot to think about, beyond just a funny jug. It forces us to consider the complex economic and material layers inherent in art, even one presented as lighthearted. Curator: Indeed, understanding materiality provides fresh insights.

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