Jug c. 1940

Curator: Here we have Sydney Roberts's "Jug," a drawing rendered in coloured pencil on paper, created around 1940. Editor: Hmm, it gives me a melancholy feeling. Like it's seen better days. The dark tones against the stark background—a bit stark, even somber, don’t you think? Curator: It's intriguing how Roberts focuses on what seems like an ordinary object. During this period, we saw a fascination with the everyday. The jug as a symbol—perhaps of domesticity, of function, even survival in a time of war. It makes one think of the New Objectivity movement and the broader social context that emphasized functionality over aesthetics, really. Editor: Functionality, maybe, but look at the way those little marks catch the light—it almost glows! And the artist didn’t smooth them over; they show all the flaws, the dents. Gives it a kind of poetry, almost like scars. Maybe there is some hidden beauty. It sort of reminds me of life—imperfect and worn, yet still valuable. Curator: That’s a compelling read, very personal! Though, of course, an object is not an isolated item: it has its background—economic realities and the need to highlight utility may be more at play here, than an overt poetic reading. Think about what function art was thought to have, especially during the war years and the years shortly after the war. Editor: I see your point! But isn’t the best art able to function on different levels, especially through subjective lenses? If it were purely functional, wouldn’t we have photographs, blueprints, not…this? Curator: Precisely—it mediates lived experiences in very profound ways that also address societal dynamics! Ultimately, this drawing provides a space to consider function, value, and representation during a transformative period. Editor: So, "Jug," a memento mori in disguise! Or just an evocative drawing of an object with a hidden past, open to a number of stories. Thanks for digging in!