Valentine 1880

Curator: This is "Valentine," an 1880 mixed-media print and drawing currently housed at the Metropolitan Museum of Art. Editor: It's surprisingly elaborate for something that seems like it should be simple. The texture created by the layering of lace, paper, and color immediately catches my eye. There's a clear focus on surface detail and visual complexity here. Curator: Indeed, its intricate nature speaks volumes about the value placed on handcrafted objects in the late 19th century. Note how the creation and consumption of these decorative arts were very gendered, predominantly made and consumed by women within domestic spheres. This was at a time when industrialization allowed for such items to be widely produced, but handcrafted ones like this signaled status. Editor: I’m fascinated by how the artist employs a collage-like technique. The combination of drawing, print, and what seems to be handmade lace elevates it beyond mere commercial reproduction, giving the miniature scene its visual allure. Curator: The act of appropriation is key here. These weren't meant to be considered 'high art.' It was about adapting commercially available materials—prints, scraps of paper, pre-made lace—to express affection, a sentimental genre piece. It questions, "what do we value" at its core. Editor: Absolutely. The "I love you" inscription is simple, even a bit quaint. But it’s framed by such opulent detail and elaborate arrangement that there’s a delightful tension created between message and means. There is structural play at work; this is not your average Victorian expression of love. Curator: And remember, even those simple words held power, particularly for women whose voices and emotional expression were often confined to these small, crafted gestures within specific social and economic circumstances. Editor: That's right. Thinking about it, the "Valentine" really subverts conventional understanding, where sentiment becomes sculptural. It embodies tactility and texture, transforming it into something profoundly moving, with so much delicate labor imbued into each element. Curator: Exactly. It allows us to reconsider what artistic labor is, what materials we prioritize, and who gets to participate in art making. Editor: A beautifully intricate, almost subversive little gesture then. I leave appreciating its materiality.