Bottle with stopper 1825 - 1835

Curator: What a peculiar object. Are we sure it's a bottle? Editor: Absolutely! This is "Bottle with stopper," made sometime between 1825 and 1835, and it's currently held at the Metropolitan Museum of Art. It's a porcelain ceramic, possibly from the Fontainebleau manufactory. It definitely strikes me as an incredibly detailed, somewhat eccentric piece of decorative art. What stands out to you most? Curator: The labor, clearly! The sheer number of individually crafted florets affixed to the surface... I wonder about the division of labor in its production? How many hands touched this object, and what were their roles? Editor: A powerful question! The labor involved connects to the social context, doesn't it? Who were the consumers of such intricate luxury items in that period, and what did such excess say about class and social hierarchy? The fetishization of handcraft too... Is there an idealization of labor happening here? Curator: Right. I'm also interested in what materials might have been used and how available these resources would have been at this time. Sourcing and the methods used to process and ultimately create the porcelain are all considerations when regarding the art itself, not as simply as aesthetic achievement. Editor: Exactly! This piece feels deliberately excessive. Perhaps it's about challenging the conventional gendered role that often pigeon-holed women and florals as weak? Instead, it pushes toward empowerment in what can be read as decorative armor. Is that too fanciful a leap? Curator: No, I see the power of interpreting its aesthetic presentation in the time that it was constructed and designed to elicit these ideas, of strength despite societal restraints. In essence, examining not just the object itself but the social factors informing it. I can imagine many long, arduous hours and creative, thoughtful energy and expertise was utilized for such decorative adornment! Editor: It is astonishing. After spending time really *looking*, I also feel aware of my place in the conversation surrounding the art world—not necessarily who can afford such objects, but who decides how these pieces are understood and enjoyed by the public. Curator: Absolutely, the interplay between creation and context cannot be understated; to really assess any art object or practice, both must be fully considered, or we’ll never fully consider what the creator may have aimed for.