Harlequina 1758 - 1768

Editor: This is “Harlequina,” a porcelain sculpture created by Franz Anton Bustelli between 1758 and 1768, currently residing at The Met. It has such a whimsical feel. What jumps out at you? Curator: Immediately, the diamond pattern of her bodice resonates with the archetype of the Harlequin, a figure steeped in centuries of commedia dell'arte. These aren't simply decorative diamonds, are they? They are visual shorthand for deception and wit, for a world turned upside down. How do you feel about this association? Editor: It definitely adds a layer of mischievousness! The raised hand, almost beckoning, plays into that. It's like she’s inviting you to join the joke, or maybe *be* the joke. Curator: Precisely. Think about the context. This figurine comes from a period obsessed with masquerade, with blurring the lines between reality and performance. What symbols are subtly shaping our perception of feminine power and its performance? Consider that gesture again—a stylized invitation. Are we admiring her freedom, or are we being lured into a trap of societal expectations? Editor: That's a good point. It's both playful and a bit unsettling, now that I think about it. She has a mask on the floor next to her skirt! Is this what you mean by the "trickster" being turned up side down by Bustelli's portrayal of gender roles? Curator: I want you to notice her jewelry, then consider its scale in relation to her costume, then relate that back to the performative intention. This juxtaposition seems almost critical, an invitation to laugh at the joke while we wonder who's in on it. Editor: I see! The dialogue between ornamentation and deception is very sharp, it really reframes the historical image into something really meaningful now. Curator: Indeed. I will look at porcelain figures differently now too!