Plate c. 1760 - 1780

Editor: Here we have a "Plate" made of earthenware with watercolor painting by Joseph A. Hannong, circa 1760 to 1780. The delicate floral design almost gives it a sense of restrained joy. How do you interpret its formal qualities? Curator: Observe the interplay between the central floral motif and the plate’s scalloped edge. The artist uses asymmetry to create visual interest, contrasting the organic form of the flowers with the geometric regularity of the plate itself. Note how the watercolor medium lends itself to delicate gradations of color, highlighting the subtleties of each petal and leaf. The washes of color appear fluid, contrasting with the plate's hard surface. What is the effect? Editor: It seems to create depth and a soft, almost dreamlike quality, making the flowers appear to float on the surface. Does the placement of the flowers have significance? Curator: Precisely. The carefully considered placement draws the eye, encouraging us to trace the lines and shapes that constitute the whole. Ask yourself: what semiotic meaning does this arrangement convey? The use of negative space, where the white of the earthenware peeks through, enhances the lightness of the composition. Do you agree that this lightness contrasts with the heavier border of the plate? Editor: Yes, it frames the delicate flowers, highlighting the detail of the painting. It's interesting how the plate's structure itself contributes to the artwork's aesthetic value. I never considered a plate having such formal artistic qualities. Curator: Indeed. It's a successful unification of form and decoration, speaking to the refined aesthetic sensibilities of the Rococo period. Close examination reveals how even functional objects can operate as sophisticated aesthetic statements. Editor: Thank you. Looking at it now, I see more than just a pretty plate, but rather an artwork.