Pitcher c. 1937

Curator: Arthur Wegg's "Pitcher," likely created around 1937, is rendered in colored pencil, giving it a soft, almost tactile quality. Editor: It's striking, actually. The earth-toned pitcher practically glows against the stark background, and those small blue flower-like decorations punctuate the overall presentation beautifully, don't you think? Curator: Indeed. The drawing suggests more than just a household object. Considering the date, and the likely domestic contexts where such pitchers featured, it feels almost defiant in its focus on the everyday. There is a real attention to form, the way light interacts with the ceramic—almost celebrating craft in a period defined by so much industrial change. Editor: The floral patterns read almost heraldic to me. It could be a coat of arms for domesticity! The pitcher itself, an emblem of sustenance and sharing. Blue, traditionally associated with calmness and stability, repeats like protective talismans, offering a feeling of comfort, security and ritualized actions. It feels timeless and somehow optimistic, especially as each grouping of the flower symbols have a small yellow center that accents its form. Curator: That’s interesting, because when you look at Wegg's choice of media – colored pencils rather than paint – it makes one consider how accessibility plays a role in both production and appreciation. Color pencils, were, at the time, ubiquitous and available, so why does he elevate that by portraying such a humble, quotidian scene with a great deal of artistry. The use of a colored pencil creates textures, an intimate interaction with material, a contrast to the smooth uniformity of factory-made objects during that period. Editor: The visual language is so persuasive, the image could function on so many different levels. From the pure aesthetics of the drawing, which is technically well-rendered. It is, to your point, a testament to accessible mediums and the celebration of what those can create and what the outcome reveals as objects, which is rather grounding. Curator: Grounding is a perfect way to describe its effect, actually. The whole piece feels very much connected to tangible, quotidian reality. Editor: Ultimately, it encourages me to see objects with fresh eyes and the narratives they reveal to us, and that is what I enjoy the most.