Garniture of five vases 1886

Editor: This is the “Garniture of five vases,” made around 1886 by Theo Colenbrander. They’re ceramic, and looking at just one, it gives me a feeling of quirky elegance. There is so much going on, but it also has this stately form. How do you interpret this work, and its blend of chaos and composure? Curator: You’ve hit on something vital – that tension between order and… well, exuberant disarray. I see Colenbrander grappling with the boundaries of Art Nouveau, pushing past the delicate floral motifs typically associated with the style. Do you notice the almost aggressive boldness of the colours? The somewhat haphazard, almost primitive quality to the patterning? Editor: Absolutely! It feels less about replicating nature, and more about creating its own bizarre, fantastical world. Like it’s a bit… wonky. Curator: Exactly! That wonkiness is key. Colenbrander was heavily influenced by Islamic art, but rather than directly copying patterns, he seemed to internalise the spirit of non-western design principles - an appreciation for complex geometry but filtered through his unique sensibility, even bordering on clashing aesthetic notions.. The goal might have been beauty, but also raw energy! Editor: So, it’s about taking inspiration and then running wild with it. Kind of punk-Art Nouveau! Curator: Precisely! It's as if he’s whispering, “Yes, it’s a vase, but it's also a visual explosion!". He’s practically daring the viewer to engage with something genuinely strange, yet beautiful. The artist is definitely asking us, What *should* an art object be? Editor: That reframes my perspective completely. It’s not just a pretty vase; it’s a statement about art itself. So cool. Curator: Yes. We should appreciate the courage of Colenbrander as he navigates a very personal take on ceramics, daring to leave behind classical traditions.