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Taste a la mode in the year 1735: Being the contrast to the year 1745, (c1745). Artist: Evan Davis
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Taste a la mode in the year 1735: Being the contrast to the year 1745, (c1745). Artist: Evan Davis
Taste a la mode in the year 1735: Being the contrast to the year 1745, (c1745). Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse Symonds], (London, 1905)
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Media ID 14916929
© The Print Collector / Heritage-Images
Boitard Boitard The Elder Breeches Britches Contrast Davies Davis Emily Morse Emily Morse Symonds Fashionable Frock Coat George Paston High Society L P Boitard Louis Philippe Lp Boitard Paston Stocking Stockings Symonds Taste The Elder Evan Metaphor
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This print titled "Taste a la mode in the year 1735: Being the contrast to the year 1745" captures a fascinating glimpse into British high society during the 18th century. The artist, Evan Davis, skillfully portrays a crowd of fashionable men dressed in their finest attire, showcasing the distinctive fashion trends of that era. The image depicts men wearing breeches and frock coats, adorned with stockings and stylish accessories. Their elaborate clothing reflects their social status and taste for luxury. The setting is a park, where these gentlemen gather to see and be seen by others of their class. Through this satirical illustration, Davis offers a metaphorical commentary on societal norms and changing tastes over time. By contrasting two specific years within the same century, he highlights how fashion evolves as an expression of individuality while conforming to prevailing trends. The monochrome composition adds depth to this historical snapshot, emphasizing details such as fabric textures and intricate patterns. It transports viewers back in time to witness firsthand the sartorial choices that defined British high society during this period. This print is part of George Paston's collection on social caricature in the eighteenth century. Its inclusion among over two hundred illustrations by Emily Morse Symonds (writing under her pseudonym) further solidifies its significance as an artistic representation of cultural history.
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