Kannen van steengoed, plaat IX 1827 - 1829

Editor: We’re looking at "Kannen van steengoed, plaat IX," a print made with ink, pen, and engraving on paper sometime between 1827 and 1829. Charles Onghena is the artist. The images show different stoneware jugs. I find the linear precision fascinating. What structural elements strike you most powerfully? Curator: Note the rigorous taxonomy at play, a visual system emphasizing minute variations in form. Each jug, carefully rendered, becomes a study in geometry and ornamentation. Observe how the artist’s linework meticulously articulates each curve and facet, prioritizing clarity of form. Do you perceive a hierarchy in the arrangement of these objects on the page? Editor: Perhaps the larger jugs at the top signify a progression, but honestly, they all feel equally important in their detail. The compositions vary so much from one to the next. Curator: Precisely. That subtle deviation highlights Onghena’s deep concern for aesthetic divergence within a controlled, systematic layout. Focus not on any intended narrative, but on the relationship between each jug’s structure, ornamentation, and its place in this visually compelling chart. The artist emphasizes contrasts and pattern relationships across the group. How do you see that informing the viewing experience? Editor: The formal structure is so compelling! Now that you point it out, I’m starting to see the arrangement as more than just a catalogue of objects; it's more about contrasting shapes, forms and surface designs against each other. Curator: Absolutely. The artist creates a dynamic play with forms, turning functional objects into visual essays on composition and structure. I appreciate your openness to the nuance presented here. Editor: Thank you for elucidating how each vase functions as a point of articulation for appreciating form.