Platter 1837 - 1853

Curator: Before us, we have a piece entitled "Platter," made between 1837 and 1853 by Thomas Godwin. The piece you see before you uses print on earthenware. Editor: Well, the initial impression is overwhelmingly domestic, despite that open vista. It's a constrained landscape, literally framed. Curator: Precisely. The form itself is crucial; it is, after all, a platter—a utilitarian object. The transfer print method democratized art production in England. The decorative program and symmetry are crucial to the function. Editor: And what an odd coupling – this serene almost pastoral scene amidst the urban backdrop and sailing vessels on what looks to be a busy waterway. It’s not what you’d expect to see on an everyday piece of crockery. Curator: The composition directs the viewer’s eye, from the romantic foreground figures to the smokestacks of the distant factories and churches, guiding us through a hierarchy of values embedded in the piece. Editor: Indeed, a commentary on burgeoning industrialization depicted through popular genre painting with symbols of tranquility such as romantic couples enjoying the scenery. It creates tension and perhaps, points to what’s being lost. Curator: Don't forget the floral border—an overt symbol of cultivated nature acting as a frame for civilization’s expansion. It is this intentional construction that speaks volumes about the anxieties of the time. Editor: A beautiful interplay, that tension. Even an object for the dinner table reflects broader cultural tensions. I can see how someone would cherish it. Curator: Seeing these objects reminds us how potent visual messaging can be, even on mundane items. The artist uses these symbolic devices, making a simple design something rather more intricate.