Ewer (one of a pair) 1740 - 1741

Editor: So, this is "Ewer," one of a pair made by Peter Archambo I around 1740-1741. It's silver, currently residing at the Metropolitan Museum of Art. It's struck me as deceptively simple, almost austere, for Baroque. How might we unpack the objectness of this piece, beyond its apparent aesthetic? Curator: It’s fascinating, isn’t it? Focus on the silver itself – its extraction, the labour involved in mining and refining it, the silversmith's workshop. These processes are critical. The Ewer embodies the wealth extraction and craft production that underpinned the Baroque era. Think about the colonial context of silver at that time. Where did this silver likely originate? Editor: Likely South America. So, the shine of the Ewer isn't just surface-level elegance; it represents a whole system of extraction, refining, and of course, exploitation. But beyond the materials, how does this object fit into consumption habits? Curator: Exactly. Consumption becomes key. Who owned this ewer, and what did that signify? Was it purely decorative or functional? Silver pieces were markers of social status and wealth. It reflects an aristocratic culture obsessed with display and demonstrating affluence. Was it about impressing the neighbors with a symbol of taste, or fulfilling a functional role? Editor: Both maybe? And this tension between functional object and signifier of class seems like it captures a social struggle too – this display masking or justifying material extraction. Is that the root of our perspective? Curator: Precisely. We should emphasize how the physical act of making and possessing this object – and similar Baroque items – relates directly to societal structures of power and consumption, linking it to the world of labor and materiality it embodies. Editor: I see, this completely changes how I view what I thought was a pretty if not slightly simple piece of Baroque art. Now, the glint of the silver is less alluring because I am reminded of labor!