Taste in High Life 1 - 1808

Editor: Here we have an engraving titled "Taste in High Life" from 1808. It depicts a gathering of affluent people in a richly decorated interior. There's a sense of crowdedness and… I don't know… theatricality. What do you see in this piece? Curator: I see a potent visual critique of class and the performance of status. Consider the period—late 18th, early 19th century. England is wrestling with the rise of mercantile wealth against the old aristocratic guard. What are your initial thoughts about the figures themselves? Editor: Well, their clothing seems excessively ornamented, and their poses seem unnatural, almost caricatured. Are you suggesting that the artist is commenting on the excesses of the wealthy? Curator: Precisely! The composition satirizes their obsession with appearing cultured. Notice the abundance of art on the walls? Are they truly appreciating it or simply displaying it as a symbol of their wealth? And look closely, how does the depiction of gender and race contribute to the critique? Editor: I see. The Black child, possibly a servant, is almost treated as another decorative object, highlighting the exploitative practices that enable this "high life." The women appear concerned about status while a privileged white man postures. Curator: It speaks to the larger questions about who gets to define “taste,” and whose labor and marginalization subsidize such a definition. Think about the power dynamics embedded within the seemingly simple act of displaying and judging art. The print implicates us too, as viewers. Editor: It's like the artist is challenging us to question what "high life" really means and who benefits from it. It feels surprisingly relevant today, too. Curator: Indeed. This print provides a lens to examine current intersectional social hierarchies and their impact. Editor: I see how studying art from the past can still reveal injustices. It is kind of worrying and thought-provoking at the same time. Thanks.