Pa. German Plate c. 1938

Editor: We're looking at "Pa. German Plate," made around 1938 by Carl Strehlau. It looks like watercolor on earthenware. It’s so symmetrical, but in a folksy kind of way. What’s striking to you about its formal properties? Curator: Notice first the radial symmetry and the arrangement of the tulip motifs, echoed in a complementary palette across the circular plane. The color itself calls for an attention to depth--note the interplay between the ochre and umber tones in the floral rendering, juxtaposed against the interspersed greens and blues. How would you say these contribute to your viewing of the composition? Editor: Well, the restricted color palette definitely enhances the flat, decorative feeling, but the washes of color also give the earthenware a soft texture. Are the repeated curves in the stems and petals supposed to draw my eye a certain way? Curator: Indeed, consider how the curvilinear forms act as vectors. The repetition generates a visual rhythm, influencing how we scan the entire surface. Note also that they almost fully inscribe the central image of the piece. Do you perceive an echoing structure that this might correspond to? Editor: The circular format of the plate itself? I see that the forms echo the shape. Curator: Precisely. It showcases a deliberate orchestration of line and form within a circumscribed space. One might ask how these basic shapes help contribute to the success of the art itself. Editor: That's a fresh way of thinking about it; I hadn't separated the color, shapes and object itself like that. Curator: Attending to the structural integrity yields deeper insight. It's about seeing the parts within the sum, how these coalesce as aesthetic intent. Editor: I will look for how these building blocks shape artwork in future viewings. Thanks!