An Emerald Vessel (Aubry de La Mottraye's "Travels throughout Europe, Asia and into Part of Africa...," London, 1724, vol. I, plate 5) 1723 - 1724

Editor: This is "An Emerald Vessel," a print by William Hogarth from 1723-24. It’s a stark, almost technical drawing of what seems to be a dish, and its geometric shapes feel very modern despite being so old. How would you approach analyzing this work? Curator: The first thing I notice is the focus on the vessel itself as an object of material value and the context of its display within the church’s treasury, Ecclefie Cathedralis. We must consider what it meant to depict, through engraving, something so intrinsically precious—an object fashioned from emerald, indicative of significant labor. This print is more than just a picture. Editor: So, it's not really about the artistry as much as about the vessel's origin and placement in society? Curator: Precisely. Consider the labor invested in the emerald, its journey from the mine to the cathedral. Hogarth, through this medium of reproducible print, democratizes access to it, doesn’t he? He presents it not as some unattainable object of worship but as a thing of material reality, circulating via commodity exchange. Editor: Interesting. I didn’t initially consider the distribution of the image itself as being part of the art’s statement. So, the act of making the print makes this luxury accessible in some way. Curator: It begs the question: Is the engraving a work of art in the traditional sense, or is it a commentary on the consumption and material conditions that give rise to art and value in the first place? Notice how he focuses on line and form – seemingly objective, like an architectural plan. It's about production, distribution and less about conventional aesthetics, no? Editor: I see. Looking at the piece knowing the emphasis is on production really makes it sing. Thanks for clarifying! Curator: It's been enlightening to examine it from your fresh perspective as well.