Two-branch candelabra 1887 - 1911

Editor: Here we have André Aucoc’s two-branch candelabra, crafted from silver sometime between 1887 and 1911. The intricate baroque style seems so excessive, even opulent, to our contemporary eyes. How might we interpret its cultural significance today? Curator: It’s a compelling question, particularly when we view it through the lens of class and power. Pieces like this weren't simply decorative; they were potent symbols of social status and economic dominance during a time of significant social stratification. How does the candelabra's overt display of wealth make you feel, knowing its historical context? Editor: I hadn’t considered it that way before. There's something almost unsettling about the lavishness when I think of it as a deliberate statement of social standing, particularly in contrast to those struggling during the same era. It makes me think of the 'Gilded Age' and all the implications of that term. Curator: Precisely. Think about the labour involved in creating such an object, the access to resources it signifies, and the statement it makes about who belongs and who does not. The Baroque style, revived during this period, can be seen as a way for the wealthy to connect themselves with a history of aristocratic power and excess. But how might it also be interpreted as a tool used to solidify their position, while marginalising others? Editor: That’s fascinating. Seeing it as a tool or argument for power…it shifts my whole understanding. I guess I was initially focused on its aesthetic qualities without fully engaging with its historical and social weight. Now I realize the art isn't separate from social concerns. Curator: Exactly, it's intrinsically linked. And this piece challenges us to reflect on the ongoing power dynamics in our society. Do such displays of wealth and luxury still function similarly today? Editor: Definitely something to keep thinking about! Thanks for opening my eyes to the deeper historical narrative embedded in this piece.