Vuurbok met vaas 1772 - 1779

Curator: This engraving, rendered in the late 1770s, presents a "Vuurbok met vaas" – or fire-dog with vase – crafted by Jean Pelletier. Editor: It looks incredibly… stiff. Almost lifeless. The geometric shapes and perfect symmetry feel like they're suffocating any sense of warmth or welcome you’d expect from something designed for a hearth. Curator: Precisely. This piece exemplifies the Neoclassical aesthetic, which deliberately reacted against the flamboyance of the Rococo. Think about what was bubbling politically. There’s a sense of order and control here that reflects the Enlightenment ideals influencing society at the time. It’s less about the personal and more about universal values – ideals of rationalism being imposed in this… domesticated sphere. Editor: So the fire, a traditionally comforting, communal symbol, becomes a display of power? The almost militaristic precision of the lines and shapes and even the architectural nod of the tiny obelisk seem to strip away its human element. Was this meant for an actual fireplace, or was it just some symbolic adornment for aristocratic houses? Curator: It was likely intended as an ornamental design. Neoclassicism frequently elevated functional objects to works of art, subtly reinforcing the patrons’ social standing and refined taste. This design aesthetic extended throughout the home in total environments. Fire dogs were a basic item of interior architecture elevated into examples of artistry and emblems of status. Editor: The garland details, despite their attempts at ornamentation, are not working. The overall impression is more cold austerity than classical beauty. There is, to me, an imposition of control and geometric severity in spaces normally defined by gathering. This raises uncomfortable questions, because to whose "taste" was all this refinement geared towards? The elite, naturally, those in power? Curator: You’ve pinpointed a critical aspect. While Neoclassicism might promote notions of universal beauty and reason, it often did so by upholding, if not further strengthening, the cultural and class structures already in place. A certain political purpose is definitely at play. Editor: Leaving me with an image, both pristine and disturbing in its sterile formality. This aesthetic feels deliberately imposed rather than arising organically. Curator: Which I guess proves art, even the decorative arts, is never apolitical!