Stoelen, tafels en bureau 1767

Editor: So this print, "Stoelen, tafels en bureau," or "Chairs, tables, and desks," by Jean-Francois de Neufforge, from 1767, is pretty cool. It reminds me a lot of technical drawings and architectural sketches with all these lines and geometrical forms. What's your take on it? Curator: Well, considering the socio-political landscape of the time, these meticulous engravings aren't simply about aesthetics. They represent the burgeoning consumer culture and the rising power of the bourgeoisie. Look at the Neoclassical style—it wasn’t just a design choice. How do you think the adoption of Greco-Roman motifs reflects on the ambitions of the rising merchant class? Editor: I guess they’re trying to connect themselves to classical ideals, like wealth and status. Like they're saying "We're just as sophisticated as the old empires!" Curator: Precisely. Neufforge's prints weren't just passively consumed; they actively shaped the desires and aspirations of a specific social class. They became complicit with a sort of… furniture propaganda. By showcasing idealized designs, prints such as these, which served to set new social and cultural standards by depicting the most current home furnishings available for purchase. Do you see how the objects reinforce and propagate a particular idea of domestic life? Editor: Yeah, it’s kind of like influencer culture, but for the 18th century, selling a dream of what life "should" look like! It also gives you a feel for how interior design became this big thing and its role in society, even way back when. Curator: Exactly. It shows how deeply art is entwined with power, social mobility and consumption. A powerful message!