Fashion art santa cruz 20124/2/2023 La Rocca, Alisa LaGamma, Constance McPhee, Asher E. Huber, Shanay Jhaveri, Ronda Kasl, Wolfram Koeppe, Elizabeth Mankin Kornhauser, Brinda Kumar, Donald J. Garfinkel, Medill Higgins Harvey, Ruth Bigelow, Alison Hokanson, Mellissa J. Eklund, Alyce Perry Englund, Jennifer Farrell, Mia Fineman, Amanda B. Carpenter, Henry Colburn, Stephanie D’Alessandro, Clare Davies, Jayson Kerr Dobney, Ashley Dunn, Maryam Ekhtiar, Douglas S. See moreĬontributions by Ian Alteveer, Kelly Baum, Kim Benzel, Deniz Beyazit, Monika Bincsik, Yaëlle Biro, John Byck, Iria Candela, John T. New York: The Metropolitan Museum of Art, 2022. Recent Acquisitions: A Selection, 2020–2022, v.80, no. Rosenheim, Joseph Scheier-Dolberg, Aude Semat, Femke Speelberg, Perrin Stein, Isabel Stünkel, Zhixin Jason Sun, Pierre Terjanian, Abraham Thomas, Thayer Tolles, Stephan Wolohojian. Pinson, David Pullins, Jessica Regan, Aaron Rio, Imani Roach, Jeff L. Orenstein, Diana Craig Patch, Amelia Peck, Jenny Peruski, Joanne Pillsbury, Stephen C. Miller, Iris Moon, Laura Filloy Nadal, Patricia M. Hyun, Shanay Jhaveri, Ronda Kasl, Wolfram Koeppe, Elizabeth Mankin Kornhauser, Alisa LaGamma, Sarah Lepinski, Pengliang Lu, Virginia McBride, Constance McPhee, Asher E. Herdrich, Alison Hokanson, Melanie Holcomb, Mellissa J. Garfinkel, John Guy, Navina Haidar, Medill Higgins Harvey, Stephanie L. Evans, Jennifer Farrell, Mia Fineman, Alice Cooney Frelinghuysen, Amanda B. Carpenter, Stephanie D’Alessandro, Clare Davies, Jayson Kerr Dobney, Ashley Dunn, Adam Eaker, Maryam Ekhtiar, Helen C. Bambach, Kelly Baum, Alexis Belis, Monika Bincsik, John Byck, Iria Candela, John T. Achi, Denise Allen, Niv Allon, Ian Alteveer, Carmen C. The entertaining and knowledgeable texts set the scenes perfectly.Ĭontributions by Andrea M. The artfully composed scenes include: a woman sitting for her portrait while her husband flirts with her friend a man being granted an audience with a woman in a peignoir who is having her hair dressed a vendor embracing the wife of an old man, his back turned, examining a table for sale a girl receiving more than a harp lesson from her teacher, while her oblivious chaperone reads an erotic novel a woman giving up her garter as a memento of a very private dinner. The vignettes, staged for the widely praised exhibition "Dangerous Liaisons: Fashion and Furniture in the Eighteenth Century," held at The Metropolitan Museum of Art in 2004, feature eighteenth-century costumes in the Museum's spectacular French period rooms, The Wrightsman Galleries. The beautifully photographed and handsomely reproduced images on the following pages bring these amorous adventures to life. everything about her indicates the keenest sensations." Valmont, her seducer, notes the following morning, "Nothing could have been more amusing." Valmont has won a game in the contest of lovemaking. For the eighteenth-century libertine and femme du monde, a refined elegance and delicate voluptuousness infused their world with a mood of amorous delight.ĭangerous Liaisons takes its theme from this era, when trifling in love propelled the energies of elite men and women, providing almost daily stimulating encounters, and when, as has been written, "morality lost but society gained." In Choderlos de Laclos's novel of the same name, Cécile, a young girl, is praised by her tutor in the worldly arts: "She is really delightful! She has neither character nor principles. Men and women restated the splendor of the Rococo and Neoclassical interiors of the period in their opulent costumes. With their fragile surfaces and delicate proportions, tables, chairs, and other pieces of furniture enhanced the elite's indulgence in leisurely pursuits, fostering highly complex standards of etiquette and performance. During the reigns of Louis XV (1723–74) and Louis XVI (1774–92) fashion and furniture merged ideals of beauty and pleasure through their forms and embellishments.
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