Drie zwevende putti 1705 - 1754

Curator: At first glance, it appears a lively, almost boisterous scene, wouldn't you agree? Editor: It does! I'm immediately drawn to the dynamic composition, the flurry of chubby limbs, the somewhat muted tones – mostly pen and drawing media. Is this Jacob de Wit? Curator: Indeed, it is! We are looking at "Three Floating Putti" created sometime between 1705 and 1754. De Wit was celebrated for his grisaille decorations. This, on the other hand, uses warmer tones to give life to the work. Editor: Putti, the symbol of the childlike divine. It is clear De Wit chose this symbolic figure to capture something ethereal in a mundane physical scene. Do you believe the lack of color represents mourning? Curator: Rococo artists used Putti as decorations representing a carefree way of life. These weren't made to reflect on grief, though such decorations, often commissioned by wealthy patrons, came under scrutiny during times of hardship and social unrest, being viewed as excessive display during the hardships of daily life. It represents how class can isolate groups and social dynamics. Editor: The institutional framing of such art is essential to interpreting this image, particularly its accessibility and display of wealth. So, how might contemporaries of varying social classes perceive it then? Curator: I imagine with mixed feelings, and depending on how visible those displays were! Symbols of joy become charged with deeper meanings, reflecting societal tensions and perceptions of inequality. It certainly wasn't the last time in history the meaning of imagery has become intertwined with sociopolitical messages, either! Editor: Precisely, the charged history imbues the figures themselves with new layers of meaning, highlighting the enduring power of art. I would venture that such art invites reflection on the ever-shifting landscape of art and meaning in social memory.