The Old Cremona 1884 - 1890

Editor: This is John F. Peto’s "The Old Cremona," painted sometime between 1884 and 1890. It’s an oil painting currently at the Metropolitan Museum of Art. I’m struck by how still and quiet it feels – a violin hanging silently against a weathered door. What do you see in this piece? Curator: I see a powerful commentary on accessibility and exclusion in the art world. Peto, often overshadowed by his contemporary William Harnett, frequently depicted commonplace objects like this violin. Now, consider: who had access to the "high art" represented by a finely crafted violin at this time? Editor: Probably not most people, right? It feels like something reserved for the elite. Curator: Precisely! And the worn door, with its prominent lock and hinges, acts as a barrier. Peto is critiquing the art world's own closed doors, hinting at who is shut out from the supposed universal beauty and expression found within music and art. How might we read the seemingly innocuous ‘Violin’ label in this context? Editor: As a reminder of what's behind the door? Like a signifier of something unattainable for many. Curator: Exactly! Peto isn't just painting a still life; he’s prompting a dialogue about class, access, and the inherent elitism within artistic and musical circles. Does knowing that change your perception of its stillness? Editor: Definitely. It feels less peaceful now, more like a silent protest. It makes you wonder who is on the other side of the door. Curator: Absolutely, and that tension is where the real power of the piece lies. It is about using the tools to reflect on society and who participates in creating or accessing art. Editor: It’s fascinating how everyday objects can hold so much meaning. I will certainly consider it as something much more powerful going forward.