Side Chair 1870s

Curator: Here we have a “Side Chair” dating back to the 1870s, crafted by George Jakob Hunzinger, currently residing in the Metropolitan Museum of Art. Editor: The immediate impression I get is that this is incredibly ornate, almost theatrical. The geometric shapes juxtaposed with the plush orange upholstery—it's quite visually arresting. Curator: Hunzinger was a German cabinet maker working in New York in the second half of the 19th century. He held several patents, and designed and mass produced this chair which showcases the aesthetic spirit of the time, while reflecting how the advent of industrial production allowed for design complexities previously unachievable by the artisan. Editor: The visual balance, the circular shapes echoed in the backrest and the seat cushion, creates a pleasing harmony. I wonder if that circular form and symmetry relates to some philosophical concepts or symbolical expression the artist wants to manifest in this work? Curator: Well, Hunzinger's work challenges notions of high art because his furniture was produced in a factory setting; however, it demanded skilled craftsmanship and intricate knowledge of both wood and metalwork. The materials here suggest wealth and luxury, aiming at the market for a rapidly growing middle class with a hunger for stylish interiors. Editor: I do find myself drawn to the details—the way the wood has been sculpted into those decorative joints, the contrast between the dark frame and the bright fabric. It certainly elevates the object beyond mere functionality, and transforms this artifact to something precious and aesthetically appealing. Curator: Absolutely, although originally meant as an ordinary household item, today it raises pertinent questions regarding the intersection between design, industry, consumerism and the concept of fine craftsmanship within a period marked by massive social change. Editor: Analyzing its lines and form gives insight to late 19th century furniture making—and it is a beauty in its details. Curator: Seeing the chair today really emphasizes the change in attitudes regarding mass produced pieces. I wonder what Hunzinger himself would think of its placement within a major museum like The Met!