Ewer 1886 - 1890

Curator: Let’s turn our attention to this painted earthenware ewer by Edward Lycett, dating from between 1886 and 1890. You can find this object in the collection of the Art Institute of Chicago. Editor: It strikes me as rather whimsical, really. That robin’s egg blue fading towards the top—and the rooster motif around the belly of the ewer. There's a kind of playful exuberance. Curator: Roosters, historically, have served as symbols of vigilance, courage, even resurrection. Lycett, perhaps channeling these associations, grounds the domestic function of this ewer in deeper cultural meanings. The animal images connect us back to nature. Editor: Absolutely, the composition, particularly the interplay between the vibrant turquoise ground and the naturalistic painting of roosters, draws my eye. But then there is also that handle, a near perfect arabesque. Notice how the gilt embellishments trace and emphasize the curvilinear structure, binding together the design. Curator: The artist uses an array of decorative strategies. Those thin, painted grapevines crawling upward emphasize the organic and transformative nature of growth. A narrative is established where domestic objects integrate aspects of nature, ritual and myth. Editor: Indeed, if you focus in on the textures and the painterly rendering, Lycett captures the very essence of rural life within a carefully stylized form. How remarkable it is to create beauty while still subtly alluding to something far older. Curator: Exactly, the symbolic layering offers a sense of historical continuity and perhaps even challenges notions of the functional versus the ornamental. It presents as both art object and artifact. Editor: Yes, and that tension, combined with Lycett's masterful craftsmanship, elevates this ewer far beyond mere utility. It’s an artifact that engages not just the eye but the imagination.