Pa. German Moravian Loving Cup 1938

Editor: We're looking at "Pa. German Moravian Loving Cup," a 1938 watercolor by Archie Thompson. It's… a loving cup. There's a solemnity to the cup, depicted in muted brown tones against an unadorned backdrop. What do you see in this piece that might not be immediately obvious? Curator: Well, it’s tempting to see this as simply a study of a quotidian object. But considering it was made in 1938, on the eve of World War II, and given the cultural context of Moravian communities—often seeking refuge from persecution—I think there's a subtle commentary on tradition, community, and perhaps even the fragility of peace. What is being "loved" here? And by whom? Editor: Fragility… the imperfection at the rim, a small dent, now suggests vulnerability to me, too. The "loving cup" itself implies community and shared experience, but framing it against a looming global conflict makes that shared experience feel very delicate. Curator: Exactly! How might the artist be using a traditional symbol of unity to comment on the rising tides of division and conflict during this period? This also compels me to think about the position of the Moravian community. As pacifists they struggled in times of war. Perhaps Thompson is drawing attention to the need to recognize those quiet pockets of resistance to violence? Editor: I see what you mean. It becomes more than just an object; it’s a statement. Thanks for bringing in the Moravian history - that provides such a necessary framework. I initially viewed the loving cup almost too literally, but recognizing it as a historical marker changes everything. Curator: Right, and these intersections, how history informs objects and vice versa, are where things get really interesting. Looking at this piece has prompted new avenues for learning.