Tray c. 1904

Curator: Here we have an exquisite tray created around 1904 by Paul Follot, currently held at the Minneapolis Institute of Art. The piece is crafted from silver, reflecting the elegance of the Art Nouveau style. Editor: It's so sleek, isn’t it? The shine is almost blinding! The curvilinear forms and floral motifs give off a feeling of restrained luxury and sophistication. It seems utterly impractical but visually captivating. Curator: Absolutely. Follot was a master of translating organic forms into refined, almost geometric shapes. Notice how the handles rise and arch like stylized plant stems, echoing the botanical theme embossed on the tray's surface. It’s not just decorative; the structure integrates function with pure aesthetic pleasure. Editor: That surface! You’ve got to wonder about the silversmith’s labor in achieving this level of detail and polish. Were these handmade or part of early mass production? How did that affect access to and consumption of such design in early 20th century France? Curator: Good questions. While exact production methods aren't documented in detail, pieces like these typically involve skilled artisans using specialized tools for hammering, chasing, and polishing the silver. Even if there were some early mass-production techniques, a level of individual handcrafting would have been integral to bring forth details. It blurs the boundaries of industry and fine craftsmanship we continue to find ourselves in a similar moment, even now. Editor: So, it's not just about its visual language, it is also an emblem of early modern craft labor and status. We must think about those unacknowledged makers who shaped this design vision. Curator: I agree. There is an intersection between art, labour and design we must constantly unpack, in this instance, revealing hidden historical context. The dialogue the “Tray” invites us to continue. Editor: It provokes one to rethink boundaries of where Art Nouveau started and where does functional silver craft stops.