Tankard 1700 - 1710

Editor: Here we have a silver Tankard crafted by Gerrit Onckelbag between 1700 and 1710. It’s currently held at the Metropolitan Museum of Art. The reflective quality of the silver is quite striking, and I’m curious about how its design contributes to its overall impact. What strikes you most about the formal aspects of this piece? Curator: The composition presents a study in contrasts. Notice the juxtaposition of the cylindrical body with the ornate detailing – the floral motifs on the handle’s base and the etched design on the lid, all suggesting different textures on the surface. The handle itself, observe its smooth, looping form as it interrupts the otherwise strict geometry. Do you see how the reflections play across the surface, too? Editor: Yes, I see that contrast now! The handle is indeed quite sculptural compared to the main body of the tankard. It almost feels like two different artistic languages at play. But is it intentional? Is the Baroque emphasis on dynamism reflected in this? Curator: Precisely. The maker manipulated light and shadow across the reflective surface. The contrast is designed to heighten visual interest. Look at how light glances off the curve of the handle compared to the flat planes of the body. That variation adds a kinetic energy. What function could be encoded within this tension? Editor: Hmm… perhaps it mirrors the lively social rituals, like drinking and toasting, for which the tankard would have been used? Or that a well crafted design will create that very excitement? Curator: Exactly! The designer successfully employed that aesthetic principle. A design’s ultimate goal, especially that of useful art, lies not only in utility but also in creating the sensory experience. Editor: This formal approach gives me a whole new level of understanding. Curator: Analyzing form guides us to deeper meaning within the art.