Design of fireworks: two views of a rocket 1650 - 1750

Editor: Here we have "Design of fireworks: two views of a rocket" from the period 1650 to 1750, currently housed in the Metropolitan Museum of Art. It seems to be rendered with watercolor and possibly pencil. The artwork is rather simple in its composition, mostly gray and brown colors. What aspects of its design and rendering do you find particularly striking? Curator: It's fascinating how the artist employed rudimentary techniques to depict form. Note the artist's mark making. Observe the deliberate choice of pale watercolour washes. It does little to convey any atmospheric effect. Note how the drawing is clinical. The application of washes appears as a structural element, defining the contours of the fireworks. Editor: So, you're saying the focus is on the shape and not any kind of emotion or realistic portrayal? Curator: Precisely. The success here lies in the construction of two discrete shapes. The lines themselves hold a unique position of importance as an individual component in this presentation. There’s an inherent rigidity in the work, and this rigidity speaks directly to the subject matter itself, does it not? Editor: I suppose it does! I see how the crisp lines and defined forms are essential in showcasing the actual firework construction. Curator: Absolutely. Without these qualities the objects become divorced from reality, or our expectations of it at least. It presents its argument through simple representation, prioritising its intrinsic visual language. Do you feel this understanding changes how you perceive it now? Editor: Definitely. I now see the artistic choices were specifically made to showcase the structure. Thanks! Curator: My pleasure. Paying close attention to materiality and structure unlocks new perspectives in any work of art.