Ewer in the form of an ostrich and basin 1684 - 1697

Editor: We’re looking at an impressive silver sculpture from the late 17th century, titled "Ewer in the form of an ostrich and basin". It's currently housed at the Met. The sculpture depicts an ostrich carrying a rider, alongside a large ornate basin. It feels whimsical, but also strangely opulent. What strikes you most about this piece? Curator: It's a fascinating example of Baroque extravagance. What stands out is how it embodies the power dynamics of the time. Notice the ostrich itself—an exotic, almost comical creature—burdened with not only cargo but also a human rider. Consider who had access to such exotic imagery, such costly materials. The very idea of commissioning something like this speaks to immense wealth and a desire to showcase dominion over the natural world. Editor: So you see the ostrich not just as decoration, but as a symbol of colonial exploitation? Curator: Precisely. The ewer was made around the time of rampant colonial expansion. The exploitation of both human and natural resources fueled this kind of artistry. The sculpture normalizes such exploitation, framing it as aesthetically pleasing entertainment for the wealthy. It begs the question, who *is* this ewer really for, and what message is it intended to communicate about their power? Editor: That adds a whole other layer to how I see it. I was focused on the artistry and craftsmanship, but you're right, it also shows who had the power to commission something so elaborate. Curator: And the context it was made in! To separate art from its social and historical implications is a disservice to any deep engagement with such beautiful craft, which hides such terrible ideologies of the time. I’m very glad we could bring them to light. Editor: Thanks for shedding light on the sculpture’s background! Now I see it as both art and social commentary.