Jongen op hobbelpaard c. 1856 - 1858

Editor: Here we have "Boy on a Rocking Horse," a miniature sculpture made of metal, dating back to the late 1850s by W. Freen. It strikes me as quite formal, even serious for what is essentially a child's toy. What is your take on this piece? Curator: It’s fascinating how a seemingly simple object can reflect so much about the era it comes from. Consider the societal expectations of young boys in the mid-19th century. What do you think the choice of metal as a medium, rather than wood for example, communicates? Editor: Perhaps it speaks to the idea of strength, durability, even a sense of nobility rather than mere playfulness? Like training for manhood rather than enjoying childhood? Curator: Precisely. The use of metal, especially if it's silver or another precious metal, connects to ideas of wealth, privilege, and the roles expected of boys from affluent backgrounds. The miniature size, juxtaposed with the serious tone, prompts questions about how gender and class were constructed and reinforced. Editor: So it is less about innocent fun, and more about molding the boy to fit a certain image, maybe to prepare him to rule and command? Curator: Absolutely. Consider the detail of the riding crop and the implied posture of the boy, are these about childhood fantasy, or conditioning for future leadership? It also asks: whose childhoods are considered important enough to memorialize in metal, and whose are overlooked? Editor: That is insightful, I hadn't considered it beyond the surface level of a child's toy. I see so many hidden layers and power dynamics. Thank you for helping me think critically about this sculpture. Curator: My pleasure. It highlights the vital connection between art history and contemporary critical analysis, ensuring we explore all intersectional stories held within.