Bonheur du jour met onder- en middenblad en met terugspringend opzetstuk met twee deurtjes. Opengewerkte kroonlijst. Blad van wit marmer.Belijmd met verschillende houtsoorten by Adam Weisweiler

Bonheur du jour met onder- en middenblad en met terugspringend opzetstuk met twee deurtjes. Opengewerkte kroonlijst. Blad van wit marmer.Belijmd met verschillende houtsoorten c. 1785 - 1790

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Dimensions: height 116.5 cm, width 53.0 cm, depth 32.5 cm, width 50.5 cm, depth 29.0 cm, weight 28 kg

Copyright: Rijks Museum: Open Domain

Editor: So, this is a *Bonheur du jour*, made by Adam Weisweiler around 1785-1790. It’s crafted from various woods, metal, and white marble. The scale of the piece gives a sense of understated luxury. How did furniture pieces like this reflect social trends in that era? Curator: That's a keen observation about its scale! Looking at the late 18th century, pieces like this weren't just furniture, they were statements. Weisweiler crafted this during a time of immense social and political upheaval in France. How do you think a piece like this might have fit into the lives of the elite, particularly in light of the impending revolution? Editor: Maybe it's a display of wealth and refined taste? Perhaps this desk could be a symbol of the aristocratic lifestyle. Was furniture being used for communicating something? Curator: Precisely. The *Bonheur du jour*, meaning "a daytime delight," speaks volumes. Its delicate craftsmanship and expensive materials projected an image of sophistication and leisure. These types of pieces embody the pre-Revolutionary values of elegance, but it’s hard to avoid the underlying tension – the conspicuous consumption displayed against a backdrop of growing social inequality. Editor: So it's both beautiful and potentially controversial! Thinking about it, having such items might influence a lifestyle. The object can be also understood as playing a role in maintaining a societal hierarchy. Curator: Exactly. It reinforces the idea of luxury as a tool to sustain existing social structures. Where do we draw the line between admiration of aesthetic value and being critical of this association with social disparity? Editor: I've certainly learned a great deal today about seeing past beauty to view this desk with an understanding of historical context. Curator: And I found that reflecting on how society shapes our consumption can bring new life and new lessons.

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