Console Table c. 1735

Editor: We’re looking at a Console Table, circa 1735, by François Roumier. It's crafted from carved and gilded wood with a marble top, currently residing at the Art Institute of Chicago. The level of ornamentation is astonishing, almost overwhelming. How would you interpret this piece from a historical perspective? Curator: It’s a fantastic example of the Baroque style, reflecting the social and political landscape of the era. Consider that the court of Louis XV would've sought to project power and wealth through visual displays. Furniture like this wasn’t merely functional; it was performative. It declared status and reinforced the social hierarchy. What do you make of its location now in the Art Institute? Editor: Well, it strikes me that displaying it in a museum somewhat democratizes it. Instead of being confined to a private aristocratic setting, it's now accessible to the public, allowing us to appreciate the artistry and craftsmanship regardless of our social standing. Curator: Precisely! And that shift, the transition of objects from private hands to public institutions, raises questions about cultural ownership and the evolving role of art. Did Roumier, in creating this table, ever envision it being viewed by people outside the aristocracy? And what does it mean to display functional art outside its original intended purpose? Does that affect our understanding of the object? Editor: That's a great question. It forces us to consider the transformation of meaning that occurs when an object moves from its original context into the museum space. I hadn't really thought about that aspect before. Curator: It's a constant negotiation. By exhibiting it, we assign new values. I find it also invites conversation about who gets to decide what art is important. Editor: This really broadens my understanding of decorative art and its implications! Curator: Mine as well.