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#1790s France
digitalfashionmuseum · 11 months
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Cream Muslim Dress, ca. 1798, French.
Musée des Arts Décoratifs Paris.
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fashionsfromhistory · 9 months
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Reticule
c.1799
France
LACMA (Accession Number: M.83.281.2)
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jeannepompadour · 2 months
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Portrait of a young woman in the grounds of the Villa Borghese, Rome by Augusto Nicodermo, 1794
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empirearchives · 1 year
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Napoleon and a chambermaid
Oscar Rex
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▪︎ Fashion Plate.
Date: ca. 1790 (Published)
Place of origin: France
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deathzgf · 7 months
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if i had a nickel for every time robespierre did an aziraphale thing in a film , i'd have more than three nickels . which isnt a lot , but it's weird that i only remember three of them
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sorry . BUT THEN THERES ALSO THIS ! which is a reach but i said three nickels
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peggy-elise · 2 years
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Merle Oberon and Leslie Howard in The Scarlet Pimpernel 1934 💌
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houppellande · 1 year
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Muscadins costumes from “Harlequinade” - by Robert Perdziola
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krasivaa · 6 months
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A tribute to my dearest Marie Antoinette 💖
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napolka · 4 months
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🐈 Georgie
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digitalfashionmuseum · 9 months
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Oil Painting, 1790, French.
By Michel Garnier.
Portraying Josephine de Beauharnais (later Empress Josephine), in a blue redingote and red headscarf.
Murphy Raclin Museum of Art.
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Another Rousstaire engraving from 1794
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I need to know why this is formatted like a meme. Who made this??
ÊTRE? SUPRÊME.
PEUPLE? SOUVERAIN.
RÉPUBLIQUE? FRANÇAISE.
HÔTEL? TRIVAGO.
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Ensemble
c.1790
France
The dualities and contradictions that characterized male fashion in the early Napoleonic period are captured in this spectacularly schizophrenic ensemble. Under the disintegrating forces of the French Revolution (1789-1794), the 18th century confidence, some might say smugness, in its uniformity of aesthetic beliefs was to disappear. The restless need for social and political reform, which began in the 1780s and was fostered through the works of the philosophes, resulted in new patterns of consumption and new forms of self-expression. For a time, however, the ideas, values and aesthetics of the Ancien Régime competed and co-existed with those of the founding Republic.
This jockeying for position between the old and new elites gave birth to a variety of hybrid or transitional styles of dress, this suit being an outstanding example. Comprising a coat with narrow sleeves and a straight, cut-away skirt, a short vest or gilet and a pair of breeches that covered the legs below the knees, it recalls the cool Neoclassicism of the Enlightenment. At the same time, its simple lines and complete absence of decoration reflects the Anglomania that had been a feature of male fashions in France since the 1740s, but which came to the fore in the 1780s. The opulence and frenzied frivolity of Ancien Régime court dress or habits à la française, however, remain in its luxurious fabric and its lurid, effervescent color. Its stand-up collar is also a vestige of the old order, but its exaggerated height anticipates the style of the Incroyables. Like these giddy young men of the mid- to late 1790s, the wearer of this suit was almost certainly an élégant, an 'enlightened' aristocrat who hid his anti-Jacobin tendencies by adopting the puritanical design vocabulary of the republicans.
The MET (Accession Number: 2003.45a–c)
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jeannepompadour · 1 year
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Sophie Madeleine Dalmas du Pont and her daughter Victorine du Pont, c. 1793
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empirearchives · 4 months
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Banquet offered by the Directory to Napoleon Bonaparte in the Grande Galerie of the Louvre on 20 December 1797. Painted by Hubert Robert and today kept at the Musée des Arts décoratifs in Paris.
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Bonaparte at the Pont d'Arcole (1796) by Antoine-Jean Gros
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