Ornament van schubben 1878 - 1944

Curator: This drawing is titled "Ornament van schubben," or "Ornament of Scales," by Samuel Jessurun de Mesquita. It’s believed to have been created sometime between 1878 and 1944. Editor: It feels surprisingly modern for something potentially dating back to the late 19th century. The stark geometric shapes and the monochromatic palette are really striking. It almost resembles a textile design. Curator: You’ve hit on a key aspect of Mesquita’s work. He was deeply interested in printmaking and design, often blurring the lines between fine art and applied arts. His linocuts, in particular, demonstrate a fascination with repeating patterns. Editor: So this piece is likely related to that interest in printmaking? The clear lines certainly suggest a transfer process. Looking closer, the type of paper tells a story too. Is this just a sketch then, or a study for a larger piece perhaps intended as a pattern for a textile or perhaps for architectural ornamentation? Curator: Precisely! Mesquita used these sketchbook drawings as explorations, meticulously crafting designs that could be adapted to various formats. Think about the social and economic context; at the turn of the century, there was a burgeoning interest in accessible design. Artists like Mesquita saw opportunities to bring art into everyday life through mass-produced textiles and wallpapers. Editor: It’s fascinating to consider the implications this had on production, as the lines blur between craftsman and artist. There's a deliberate coolness to the aesthetic that could also challenge the more romantic artistic conventions of that time. Curator: Exactly! It questions the value traditionally given to paintings versus these "lesser" reproducible art forms. Even now, it compels us to reflect on those institutional frameworks. Editor: I think the title reinforces that point as well: "ornament." Its inherent relationship with labor and function over art for its own sake offers an interesting avenue for thought, as opposed to more sentimental symbolism. Curator: Absolutely. It’s a testament to the power of revisiting artwork with new critical perspectives. These lines lead to bigger questions about where art truly resides. Editor: And how society values and utilizes different forms of artistic expression throughout history and now. Food for thought!