Pitcher 1848 - 1856

Curator: Look at this fantastic pitcher, dating from around 1848 to 1856. It was produced by Charles Cartlidge and Company and is now held at the Metropolitan Museum of Art. Editor: It has quite a striking presence. The clean white ceramic ornamented with gold is very pleasing to the eye. And the form itself is unusual, quite playful! Curator: The materiality of the earthenware contributes greatly to the work, certainly. I think we need to explore the imagery. An anchor as the handle, foliage scattered around the body— Editor: A heraldic shield featuring some very bold colours. Tell me, what does all this imagery evoke? Curator: I see it through the lens of Romanticism, you see. It represents this complex dance of civic pride—reflected in that shield you noticed, combined with an embrace of natural forms, perhaps reflective of America's expansive landscapes. The anchor further brings in associations of journeys, explorations. Editor: And yet there's a controlled order, in spite of all the visual information, which gives it some structural unity. The careful placement of the gilded details throughout the pitcher leads the viewer's eyes around the body with rhythm and purpose. Curator: I see it as a container not only for liquids but also meaning; in this case, beliefs of national identity, industrial innovation and Romantic ideals, all circulating within early to mid-19th-century America. Editor: Indeed, the tension between pure ornamentation and a strong thematic undercurrent is interesting to consider. Curator: Absolutely, reflecting the shifting sands of taste and symbolism of its time. These items that were considered commonplace still carry significant symbolic resonance. Editor: Analyzing its artistic structure has deepened my engagement. Curator: Precisely, let's hope that listeners too will gain insights by contemplating symbolic interplay within "Pitcher".