Modeliefhebber 1780

Curator: So, here we have "Modeliefhebber", which translates to "Fashion Lover," an engraving made around 1780 by Daniel Nikolaus Chodowiecki. What strikes you initially? Editor: The symmetry, or lack thereof, grabs me right away. We have this figure, the "fashion lover," pointing dramatically, but his gaze, and ours, leads directly to… a rather sad-looking coat hanging alone. It's a bit comical, honestly. Curator: The contrast between the dandy's ostentatious gesture and the solitary coat is central, wouldn't you say? Chodowiecki’s work is riddled with symbolism and societal observations. He captures a rising merchant class's aspirations toward aristocratic status. Editor: Absolutely, and the visual contrast underscores the hollowness of that pursuit. He seems to be lampooning the idea that one can buy their way into true status, the coat merely an empty vessel. Is the secondary panel a comparison with what *real* power looks like? That grotesque feast, reminiscent of ancient oligarchies? Curator: Precisely. That depiction of unrestrained consumption further accentuates the relatively innocuous vanity displayed in the first panel. This is genre-painting, sure, but there's also a rather scathing critique embedded in its core. Observe how detailed Chodowiecki’s use of line is, in both scenes: from the elaborate drapes to the bulging faces at the dining table. Editor: Right. He’s making no judgement about the rich; the lines in both illustrations create equally unflattering worlds to each respective panel's focus figure. I keep returning to that poor coat. The lack of a figure *inside* creates an uncomfortable feeling, maybe mocking people buying stuff with borrowed money. The composition forces us to confront this absence, mirroring the absence of genuine substance. Curator: It’s an absence that echoes across both scenes, doesn’t it? Neither wealth nor fashionable attire provides a truly satisfying identity. We might interpret Chodowiecki's message as advocating moderation and authenticity. Editor: Well, if that's his argument, he made it vividly, and with a wink! Thanks to both, it now echoes down centuries after the baroque ended. It is easy to sneer at people, then as now, in this period snapshot.