Snuffers and tray 1718 - 1719

Editor: Here we have *Snuffers and tray*, crafted between 1718 and 1719 by Achille Bellanger. It's silver sculpture, and it strikes me as incredibly ornate for such a practical object. What do you see in this piece from a formalist perspective? Curator: Certainly. I observe an emphasis on line and form within a highly regulated structure. The curves of the tray and snuffers, along with the angles of the base, contribute to a harmonious, Baroque interplay. Note how Bellanger has effectively manipulated light and shadow on the silver surface to emphasize its sculptural qualities. What specific aspects of the piece attract your attention, and why? Editor: I am really intrigued by the contrast between the rigid tray and the ornate details of the snuffers and its stand. Is that contrast typical for Baroque pieces? Curator: Baroque art embraces dynamism, yet the design exhibits a calculated balance. Consider how the linear precision of the tray anchors the exuberance of the upper structure; it offers stability. Moreover, the heraldic emblem—its placement and execution—serves as a focal point, directing the viewer's gaze, and enhancing the piece's structured asymmetry. Editor: I see. So, the juxtaposition isn't accidental; it’s part of the design. What would you say is the most successful formal aspect of the artwork? Curator: I’d argue the rhythmic repetition of forms—the curves of the handle mirrored in the feet, echoed in the details of the tray—is its most compelling feature. That rhythm elevates it from a mere functional object to a considered work of art, revealing a mastery of Baroque aesthetic principles. Editor: This was very helpful. Now I see so much more in what I initially considered a relatively straightforward, albeit ornate, tray. Curator: Indeed, approaching art with a focus on intrinsic, formal properties enriches our understanding. A deeper appreciation emerges through understanding those structures.