Two candelabra 1891

Curator: These objects are listed as Two candelabra, crafted by Firma Hoeker & Zoon in 1891. Editor: They strike me as imposing. Not just the polished metal, but the baroque-inspired embellishments give them an almost regal feel, evoking a sense of formal, perhaps even gendered, power and display. Curator: Indeed, the visual language employed is intricate. Note how the sculpted forms evoke flora, rendered in minute detail to catch light and create depth. It speaks to the Baroque’s fascination with dynamism, though within a highly structured design. Editor: That very structure, though, also tells a story. In a domestic space, such opulence could have served to broadcast the owners’ wealth and status within the complex social structures of the time. The light cast could illuminate lavish meals or other displays of upper-class life. Curator: A compelling point, that they are communicative objects. Technically speaking, the candelabras’ success stems from the artist’s firm grasp of metalworking, their ability to imbue rigidity with the illusion of organic, flowing life. The way the material catches the light draws your eyes. Editor: Absolutely, but consider the societal function! Who did the light from these candelabras exclude, literally and figuratively? Whose labor created this opulence? This is where formalism brushes up against hard social realities. Curator: I concede the relevance of those questions, but it’s also true that analyzing the interplay of form and function allows us to more closely examine the choices made by the artist. In that sense, your concerns are valid and lead back to a greater understanding of artistic intentionality, too. Editor: Yes, and I'm challenged to appreciate the object's beauty and artfulness. I find the detail beautiful. I can't help but want to reclaim that level of craftsmanship in our own artistic and social productions.