Cream pitcher 1815 - 1835

Editor: Here we have a cream pitcher, attributed to the New England Glass Company, sometime between 1815 and 1835. It’s glass, and quite small, but the craftsmanship is extraordinary! The way the light plays on the ridges is captivating. What aspects of the pitcher strike you the most? Curator: Immediately, I'm drawn to the production of glass itself in that era. The material realities dictated the aesthetic possibilities. Consider the factory setting, the specialized labor required to achieve this level of clarity and form, the fuel needed to melt the glass – these shaped the object as much as any artistic intention. Editor: That's a different way to look at it. It feels romantic, almost delicate, but you’re framing it as the result of intense industrial effort. Curator: Precisely. And the Romanticism you observe is also a product of its time. Wealthy landowners would prize an item like this as it shows a subtle, understated elegance when compared with foreign pieces. What was involved in moving this product? Who had the luxury of time to carefully ship something so delicate? These are factors shaping consumption, taste, and, ultimately, the aesthetic we appreciate today. Editor: So, even its fragility is significant? The clear glass and delicate form disguise this intricate, demanding method of making? Curator: Indeed. Think about the skilled glassblowers, their working conditions, the economic landscape that enabled such production. This Cream pitcher embodies social stratification and a specific relationship to labor. By analyzing its production, circulation, and consumption, we uncover its rich historical layers. Editor: That's fascinating. I usually see art as the vision of an artist. I see now that sometimes it is best viewed as a sum of its industrial parts and contexts, as well. Thank you for the different approach! Curator: My pleasure! By recognizing art as entangled in a complex web of material conditions, we can interpret it in ways that deepen our insight and appreciation.