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Taste in High Life, 1798. Artist: Samuel Phillips
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Taste in High Life, 1798. Artist: Samuel Phillips
Taste in High Life, 1798. A satire on affected manners. A man holds a saucer and a woman daintily holds the teacup. Another woman tickles a black servant under the chin. A monkey with a monocle reads from a list. Pictures on the wall behind send up exaggerated fashions in dresses and wigs. After William Hogarths oil on canvas painting of c1742. From William Hogarth, by Austin Dobson. [Hachette Et Cie, Paris, 1904]
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Media ID 14972670
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Affectation Austin Dobson Dobson Georgian Henry Austin Henry Austin Dobson Hogarth Manners Monkey Paintings Phillips Samuel Servant Taste W Hogarth William Hogarth High Life Satirical
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Taste in High Life, 1798
EDITORS COMMENTS
is a captivating print that encapsulates the satirical essence of the late 18th century. Created by artist Samuel Phillips, this artwork brilliantly mocks affected manners and exaggerated fashions prevalent during that era. In this scene, we witness an array of characters engaging in various activities within an opulent interior. A man delicately holds a saucer while a woman elegantly cradles her teacup, both epitomizing refined taste. Meanwhile, another woman playfully tickles a black servant under the chin, highlighting societal imbalances and racial dynamics of the time. Adding to the whimsy of the composition is a monocle-wearing monkey perched on a chair reading from a list. This comical touch further emphasizes the absurdity and affectation present in high society. The background wall displays paintings that humorously exaggerate fashionable dresses and wigs worn during this period. These elements serve as visual commentary on prevailing trends and their often excessive nature. Originally inspired by William Hogarth's oil painting from around 1742, "Taste in High Life" captures Georgian England's social intricacies with wit and insight. Through its monochrome palette and skillful execution, this satire invites viewers to reflect upon notions of class, occupation, gender roles, and cultural norms that shaped British society at that time. This remarkable print serves as both entertainment and critique—a testament to Samuel Phillips' artistic prowess in capturing the essence of his era through biting satire.
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