Lage bank met rolkussens 1772 - 1779

Editor: Here we have "Low bench with bolster cushions," a drawing from around 1772-1779, currently housed at the Rijksmuseum. It’s rendered in engraving on paper and attributed to Nicolas Dupin. The image is stark but precise. What stands out is its utter coolness, devoid of warmth. What can you tell me about its socio-political meaning? Curator: Indeed. Dupin’s banquette, with its clear lines and classical motifs, epitomizes Neoclassical aesthetics, a deliberate break from the opulence of the preceding Rococo. But why the shift? Think about the late 18th century: revolutionary fervor brewing, the aristocracy’s excesses under increasing scrutiny. Editor: So, a simple bench design becomes… a political statement? Curator: Precisely! This design signals a return to the perceived virtues of republican Rome: simplicity, order, civic duty. Objects like this weren't just furniture; they were symbols. Reflect on this bench, intended, supposedly, to facilitate more relaxed behaviors: reclining on the settee. But might this attitude not have reinforced existing stereotypes of an elite class? Editor: Interesting! It's less about comfort and more about projecting an image of restrained elegance—almost a PR move for the elite! Curator: Exactly! And consider how this image itself circulates. Engravings like this one allowed these “virtuous” designs to disseminate widely, influencing taste and, ideally, normalizing this aesthetic as a sign of moral probity. So, what was “simple” in aesthetic actually upheld complex social power dynamics. Editor: It’s incredible how even furniture design could be so politically charged. I’ll never look at a bench the same way again! Curator: Hopefully not! Art objects are rarely neutral. And considering their context always helps unlock fascinating narratives about society, class, and power.