Vase 1740 - 1756

Curator: These are a pair of Rococo vases crafted at the Vincennes Porcelain Factory in France between 1740 and 1756. Editor: Exquisite! They evoke a sense of restrained opulence, don’t you think? The interplay of cobalt blue, delicate floral motifs, and touches of gilding creates such a dream-like aesthetic. Curator: Absolutely. And considering their creation during the early years of the Vincennes factory, it’s remarkable. Porcelain production was still somewhat mysterious, a closely guarded secret at this point, and mastering the process represented immense technological prowess. We must appreciate not only their form but their successful, reproducible production as well, which required highly-skilled labour, investment and an extensive factory structure. Editor: Indeed. The flowers immediately call to mind ideas about rebirth and beauty but looking closer, notice the repetition of specific flowers and symmetrical designs? Each has a certain, almost heraldic, association for the era. The artisans selected each image, and their placements, consciously, drawing on established visual vocabularies. Curator: Good eye. Also important to remember, these were designed for display in the homes of the aristocracy. Porcelain became a coveted commodity, a physical manifestation of power, privilege, and, significantly, wealth, shifting ceramics into the sphere of high-status possessions. Editor: And these floral images! Perhaps referencing formal gardens or fields... Maybe communicating control over nature? They act as an intriguing time capsule. One that tells of prevailing aesthetics and social preoccupations... Curator: Exactly. These were made to communicate affluence and reflect the fashionable tastes of the elite. It would be fascinating to research what particular significance or cachet Vincennes porcelain might have had compared to other factories during this period of fervent collecting, display and material indulgence. Editor: Ultimately, beyond technique or commerce, these vases prompt a curiosity for those original collectors, encouraging an exercise in human connection throughout time. Curator: That’s a fascinating point. It leaves me wondering about the individual artisans involved in crafting each of these unique features too: porcelain formula technician, potter, sculptor, decorator, gilder. What would each craftsman think of this interest?