-Lucie Attwell's Fairy Tree Biscuit Money Box- still bank c. 1930s

Curator: Here we have "Lucie Attwell's Fairy Tree Biscuit Money Box," dating back to the 1930s, a mixed-media piece by Mabel Lucie Attwell here in the Minneapolis Institute of Art. Editor: Well, my first thought is whimsical! It reminds me of a little pixie's hat. It's got this cone shape, covered in shades of green and sweet fairy figures. It definitely gives off a childlike sense of wonder. Curator: Absolutely. Attwell's work is deeply rooted in the decorative arts tradition, often blending cartoon themes with folk-art aesthetics. The choice of fairies is interesting; they represent an intersection of childhood innocence and a specific cultural moment shaped by emerging mass media. Editor: I see it! Looking closer, the cone is a tin box with these adorable little figures hanging about. I can almost imagine the clinking sound of pennies dropping inside. Do you think children loved these back then? Curator: No doubt. But also consider the sociopolitical context. The 1930s were a time of economic hardship; even whimsical objects were designed to promote values of saving. It highlights the relationship between consumer culture and social control. Editor: That makes perfect sense! You know, these weren't just toys, they were tiny lessons in capitalism cleverly disguised as pixie dust and fairy wings. I'm also wondering about fairy tales themselves; it all feels rather nostalgic, even now. Curator: Precisely! The appeal of fairy tales crosses boundaries of gender and age, presenting idealogical themes like morals and wealth to all audiences in a form of "entertainment." Attwell taps into deeply engrained cultural myths about gender roles and childhood that were prevalent at this time. Editor: Wow. Seeing it that way makes the green, almost forest-like, background even more potent. It's the container of dreams and realities both! This fairy tree has some profound things to say about how children are integrated into the financial structures of our world! Curator: Exactly, it's fascinating how such a playful form can spark reflection about money and innocence. Editor: Well, I'll certainly never look at a child's money box the same way again. Curator: It goes to show the intricate connections within art, doesn't it?