Penning voor het 100-Jarig bestaan van de Levensverzekeringsmaatschappij 'Oude Haagsche van 1836' met bijbehorende doos

Editor: Here we have Toon Dupuis's 1936 medal, crafted in metal relief. It commemorates the centenary of an insurance company, 'Oude Haagsche van 1836.' I am struck by its intimate portrayal of a mother and child in such an industrial medium. What do you see in this work, especially given its origins? Curator: Well, for me, the materiality is key. It’s fascinating how a hard metal is molded into this soft, sentimental image. This piece exists because of industry, commerce, and the financial security this company provided. Editor: That's interesting, the company ensured financial security which enabled material conditions that facilitated work such as this? Curator: Exactly. This medal isn’t just an art object; it’s a byproduct of specific socio-economic forces. The labour involved in mining, smelting, and minting that metal reflects wider networks of production. Were the materials locally sourced? Were the workers treated ethically? These are the kinds of questions a materialist approach prompts. Editor: So, it shifts our focus from just admiring the image to considering its place in a larger industrial system. Does the Art Deco style connect to the means of production? Curator: Precisely. Art Deco often celebrates machine-age aesthetics. Here, the streamlining and simplified forms of the mother and child complement the precision and uniformity achievable through industrial processes. Editor: That makes me consider how even seemingly sentimental pieces have roots in production. Curator: Right! And in this case, even in insurance itself: what it represents, its accessibility, and the values it propagates within society. It gives this image another layer of meaning. Editor: Thanks! I now see the medal beyond its surface sentimentality and have a new appreciation for the cultural and economic factors that went into its creation.