Corner chair 1735 - 1745

Curator: Here we have a “Corner Chair,” crafted sometime between 1735 and 1745. The chair is on display here at the Metropolitan Museum of Art. Editor: Oh, my, what a moody piece! I imagine it whispering secrets in a darkened parlor, the air thick with unspoken tensions. Is it Baroque? All that swirling wood feels very…ornate. Curator: The carving does indeed show influences of the Baroque, although we might classify this as more of a decorative art piece, with emphasis on pure form. Consider the sinuous curves of the legs, or the meticulously carved details in the back supports. Editor: You see meticulous; I see almost oppressive formality. Like it's daring you to slouch! The deep brown of the wood contributes, too. Did they even smile back then, or were they always perched rigidly on chairs like this, judging everything? Curator: One could argue that these visual elements establish an aesthetic language, representative of its cultural context. The careful craftsmanship speaks to the status and values of the commissioner, conveying stability through form. Editor: And you know, those cabriole legs ending in what look like dainty little hooves! There’s something darkly whimsical about that. Do you think they knew they were making something that would feel both elegant and slightly unnerving centuries later? Curator: That synthesis is the beauty of experiencing these pieces outside of their original setting. Removed from their quotidian use, they take on the aura of sculpture, begging us to ponder line, proportion, and cultural significance in the American colonies. Editor: It's true. Thinking about it in a modern gallery lets you appreciate those old skills while letting your mind just wander and attach stories and emotions to what they ended up making. Curator: Exactly. A fascinating intersection between functional object and pure artistic expression. Editor: Definitely something I’ll remember. Even if I’m afraid to sit on it!