Bedstee 1772 - 1779

Editor: Here we have Nicolas Dupin’s "Bedstee," an engraving from the late 1770s. I'm struck by how enclosed and almost theatrical it feels. What's your take? Curator: It's more than just a drawing of a bed, isn't it? This object reflects a complex interplay of class, privacy, and power during that era. Ask yourself, who had access to this kind of domestic space? Editor: The elite, definitely. I guess I hadn't thought about privacy as a status symbol back then. Curator: Precisely. These alcoves provided a controlled private space in a time where social life, even for the wealthy, often blurred the lines between public and private. Consider also the textiles; the patterns were deliberate and signified wealth, and the very act of enclosing oneself signified control over your space. Do you see it reflecting or contesting the social dynamics of its time? Editor: Definitely reflecting. The opulence feels like a reinforcement of the status quo, doesn't it? It almost presents itself as a stage. I’m thinking about the artist as more of an objective, albeit complicit, observer of 18th-century class dynamics. Curator: Good point. Also, let's not overlook gender roles within these spaces. For women of the elite, a bedchamber was often a site of power, receiving visitors and conducting business alongside more private activities. It speaks to how much a space defines identity, don't you think? Editor: Wow, that shifts my understanding quite a bit. I went in thinking of a drawing of a bed, but now I see a real, complex statement on social roles. Thanks! Curator: Indeed! It's a potent reminder of how the decorative arts can reflect societal values, especially around gender, class, and power dynamics. I've certainly learned something about pre-conceived notions of domesticity, too!