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Female dandies did overlap with male dandies for a brief period during the early 19th century when dandy had a derisive definition of "fop" or "over-the-top fellow"; the female equivalents were dandyess or dandizette. [34] Charles Dickens, in All the Year Around (1869) comments, "The dandies and dandizettes of 1819–20 must have been a strange ...
George Bryan "Beau" Brummell (7 June 1778 – 30 March 1840) [1] was an important figure in Regency England, and for many years he was the arbiter of British men's fashion.At one time, he was a close friend of the Prince Regent, the future King George IV, but after the two quarrelled and Brummell got into debt, he had to take refuge in France.
Fancy pictures are a sub-genre of genre paintings in 18th-century English art, featuring scenes of everyday life but with an imaginative or storytelling element, usually sentimental. The usage of the term varied, and there was often an overlap with the conversation piece , a type of group portrait showing the subjects engaged in some activity.
Fop was a pejorative term for a man excessively concerned with his appearance and clothes in 17th-century England. Some of the many similar alternative terms are: coxcomb, [1] fribble, popinjay (meaning 'parrot'), dandy, fashion-monger, and ninny. Macaroni was another term of the 18th century more specifically concerned with fashion.
A prominently large nosegay of flowers was often worn (on the left side of the chest or shoulder of the coat), along with a very small tricorne style hat. [6] The shop of engravers and printsellers Mary and Matthew Darly in the fashionable West End of London sold their sets of satirical "macaroni" caricature prints, published between 1771 and ...
Comprising 10 large-scale portraits in Sarah Ball’s signature airy colors, new exhibit “Titled” challenges gender conventions and celebrates exuberant self-expression.
The Boston cherubs mostly date from the mid-18th century to around 1810 and have direct lineage to earlier funerary art, often showing a living human arched by wings. The John Stevens Shop of Newport began using Cherub effigies as early as 1705, and carvers in the Merrimack Valley region were using soul/cherub designs starting in the 1680s.
Along with the anonymously written Fifteen Plagues of a Maidenhead (1707), Garfield and Curll's works were involved in cases that helped form the 18th-century legal concept of "obscene libel"—which was a marked change from the previous emphasis on controlling sedition, blasphemy and heresy, traditionally the ecclesiastical courts' province. [65]