Side chair 1775 - 1790

Editor: So, this is a side chair, crafted sometime between 1775 and 1790. It’s currently residing here at the Met. What strikes me immediately is the combination of the gilded wood frame with that delicate floral textile – it’s quite a contrast. What do you see when you look at this piece? Curator: What I find fascinating is how seemingly simple objects like chairs reflect broader social and political currents. This chair, for example, embodies the aspirations and anxieties of the late 18th century. The decorative art screams wealth, but think about who it’s excluding from its use. What does a chair *mean* if a huge segment of the population is living without any furniture at all? Editor: That's a very good point. The gilding and ornate carving, even the textile pattern, all suggest a very particular, elite audience. Curator: Precisely! It’s a piece of propaganda. We can also think about the institution exhibiting it now: the Met. Does placing it in a museum somehow neutralize the socio-political commentary embedded in the piece? Does it erase its original intention by focusing on its aesthetic qualities? Editor: So you're saying that the chair is making a statement about the distribution of wealth, not only at its creation but also through its presence in a major museum? Curator: Absolutely. Think of the chair's original setting, most likely a grand salon, a space designed to impress and display power. Then, consider its place here, within the Met, which attracts a global audience. Has the message changed? Editor: It’s almost as if the chair is still performing the same function, but now the performance is for a much larger, potentially more critical audience. I never thought a chair could have so much to say about society! Curator: And that, in essence, is why studying decorative arts through a historical lens is so enriching. It transforms everyday objects into potent symbols of their time and beyond.