Pitcher 1875

Editor: So, this is the "Pitcher," made in 1875 by Dallas Pottery. It's earthenware, residing at the Met. It's a really striking object, almost entirely white. What do you see when you look at it? Curator: I immediately think about the division of labor in its creation. Who designed the pitcher? Who sourced the earthenware? Who physically shaped it, and who added the decorative elements? Each of these roles speaks to the industrial processes of the late 19th century. Editor: That’s interesting. I was just thinking about how pretty the lilies are, and the basket-weave texture around the base. Does that craftsmanship influence how we see the 'decorative-art' label? Curator: Precisely. The very act of classifying this as 'decorative art' elevates it less than, say, a painting displayed nearby, but it equally obscures the immense labor involved in its creation. Someone mined the clay, transported it, prepared it. Are these skilled or unskilled laborers? What were their wages and working conditions? This pitcher represents an entire social network of production. Editor: I hadn’t really considered the social aspect before. Curator: Think about the mold-making process; how many repetitions could one artisan produce in a day? How does mechanization come into play? That repetition itself transforms art into a commodity. What do you think? Editor: It’s making me rethink the way I see objects in museums. Looking beyond the aesthetic and into the entire process makes it a richer experience. Curator: Agreed. Considering art through its materials and the hands that shaped it unveils its deeper social and economic significance.