Nationale tentoonstelling van oude en nieuwe kunstnijverheid, 's Gravenhage 1888 met doos 1888

Editor: Here we have "Nationale tentoonstelling van oude en nieuwe kunstnijverheid, 's Gravenhage 1888 met doos," created in 1888 by Bart van Hove. It's currently housed in the Rijksmuseum. The material looks like stoneware and depicts an angelic scene. I’m struck by how it commemorates this national exhibition. What historical narratives are embedded in this work? Curator: This piece provides a fascinating glimpse into the cultural priorities of the late 19th century. These national exhibitions were incredibly important events. It's a declaration of artistic achievement, a public display of a nation's aesthetic values and economic prowess. Do you notice how it idealizes art through its allegorical figures? Editor: Yes, the angel-like figures and the celebratory symbolism certainly suggest that. It’s interesting to think about the intended audience, and how they would have perceived these images of national pride and progress. Were these exhibitions and associated artwork meant to unify the country under a shared artistic vision? Curator: Precisely. And the choice of representing it on stoneware, often associated with craft and industry, suggests an intention to democratize art, to make it tangible and accessible. Think about the message being sent: artistic advancement as a symbol of national strength. What could be the implications for contemporary artists? Editor: Perhaps that art should be relevant and accessible, playing a role in shaping national identity. I now see this artwork less as a purely aesthetic object, and more as a symbol of cultural aspiration during that era. Curator: Indeed, it’s a reflection of its time. We should examine these declarations of "progress" with critical eyes, while acknowledging its value as a artifact that reflect socio-cultural currents. Editor: This discussion made me rethink how artwork like this really played a role in shaping public opinion. Thank you for your time!