Bord met op het plat een gezicht op Dordrecht c. 1863 - 1958

Editor: Here we have "Bord met op het plat een gezicht op Dordrecht," or "Plate with a view of Dordrecht" by N.V. Société Céramique, likely produced sometime between 1863 and 1958. It appears to be a ceramic plate with an engraving. It’s fascinating how a common household item can depict such a detailed landscape. What do you make of it? Curator: The allure, indeed, stems from the confluence of medium and image. Consider the plate as a bounded plane, a circular canvas. The blue floral border functions as a frame, directing the gaze inward to the central engraving. This engraving, rendered in monochromatic detail, captures a Dutch cityscape. Editor: It’s like a window onto another world, but contained on a plate. Curator: Precisely. Now, observe the interplay between the two-dimensional representation of Dordrecht and the three-dimensionality of the plate itself. Does this juxtaposition create a dialogue, a tension between representation and objecthood? The image is captivating but feels conventional. Editor: I see what you mean. It almost flattens the scene, despite the attempt at perspective in the engraving. So, the real interest lies in how the image interacts with the plate as a physical object? Curator: In part. Consider how the decoration augments or diminishes the affect of the image. How would this work function were this image placed upon paper? It would lose dimension, it would become conventional. Editor: That makes so much sense. It’s a completely different experience to see a landscape depicted on something that is also a functional object, versus just on paper. It makes you rethink what a landscape can be, right? Curator: Indeed. It underscores the crucial role of the medium in shaping our perception and interpretation of art. The material makes this landscape valuable for observation.