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Flânerie: Strolling Amongst Aestheticized Selves of the Romantic Period

A dinner setup in an intricately designed ballroom

This gallery is a virtual stroll through the crowds of Romantic Britain in search of personifications of artistry. As an exercise in flânerie, this gallery juxtaposes and assembles for our view those figures who fashion themselves as artistic through their clothing, conduct, and gestures. These figures demonstrate the diverse ways in which artistic identity was being codified for appropriation and commodified for consumption, and so point to the multiplying intersections of art and commerce. Although the Romantic artist is often thought of as a stable embodiment of creative genius and sensibility who creates his artistic persona to elevate himself above the commercial masses, the growth of the art market during the Romantic period actually encouraged a wider range of artistic identities as professional artists began to specialize in diverse practices (see David Solkin's Painting for Money; New Haven: Yale UP, 1993). The people represented here take part in this fracturing of artistic identity by establishing themselves as experts or practitioners of the arts, or even by creating their own selves as works of art or objects of aesthetic pleasure. These figures suggest that the Romantic era offered new freedom in creative self-fashioning; yet, as Michel Foucault reminds us, such efforts to create an aesthetics of the self are always bound by outside forces of social control (see Foucault's “What is Enlightenment”). The figures represented here use commodities to fashion themselves as artistic personas, but in doing so they have become types circulating in a commodity culture, including the visual culture from which the images in this gallery are drawn. Many of these images are satirical, demonstrating the ways in which artistic types were evaluated and critiqued by their peers; however, even those figures that are not successful formulations of artistry signify the developing, Romantic appetite for self-creation.  Finally, this gallery also points to the practices by which these types were created.  Following Foucault, we might think of these practices, from fashion and portraiture to tourism and collection, as technologies of the self (see Foucault's “Technologies of the Self”).  The aestheticized selves produced by these technologies are both individual formulations and social constructions, both art objects and art consumers.  

Date Published

Date Published
September 2009

Exhibit Items

A man being supported by his friends after fainting

Isaac Cruikshank

This print depicts a dandy, emotionally overcome by the performance of a castrato opera singer, fainting in the company of his friends, four other dandies.

A Dandy Fainting or – An Exquisite in Fits. Scene a Private Box Opera—

A man inspects several antique items

Thomas Rowlandson

The print depicts an antiquarian engaged in the study of several ancient artifacts. The object that most engrosses him, the mummy, seems to both mirror his image and return his gaze.

An Antiquarian

Men examining artwork

James Gillray

In this print, a group of connoisseurs examines several paintings. Given that these paintings depict rural subjects, a topic of which the connoisseurs can have little knowledge, the print questions the competency of these professed experts and so satirizes the role of the connoisseur.

Connoisseurs examining a collection of George Morland’s

A man drawing farm animals

Thomas Rowlandson
In collaboration with William Combe

This print accompanies a chapter in which Dr. Syntax meets a country squire and announces that only farm animals would be proper subjects for his picturesque drawings.

Doctor Syntax Drawing After Nature

Doctor Syntax reading a poem to a woman

Thomas Rowlandson
In collaboration with William Combe

This print depicts the moment in Combe's text when Doctor Syntax makes a sexual advance towards his hostess, the beautiful bluestocking Mrs. Omicron.

Doctor Syntax with Bluestocking Beauty

A tailor fits a man for his jacket

George Cruikshank
In collaboration with Pierce Egan

In this print, Corinthian Tom’s tailor, Mr. Primefit, has come to Corinthian House to fit Jerry Hawthorn for a new suit. Jerry stands in the center, his back to the viewer, while Mr. Primefit measures his back with tape.

Jerry in training for a “Swell”

Portrait of Lady Caroline Montagu

George Hayter

This portrait depicts Lady Catherine Montagu as a figure of social unconventionality, sporting a dress reminiscent of both the piratical and the gypsy lifestyle as romanticized by writers of the era.

Portrait of Lady Caroline Montagu in Byronic Costume

A portrait of Lord Byron

Richard Westall
In collaboration with James Barton Longacre

This print portrays Lord Byron as the quintessential Romantic poet, as well as the Byronic hero formulated and featured in his own works.

Portrait of Lord Byron

A butcher's family

Thomas Rowlandson

In this busy scene, the young Miss Marrowfat entertains the family (and whoever else may happen to enter the butcher shop, apparently) with the musical "skills" she has acquired at boarding school.

The Hopes of the Fammily, or Miss Marrowfat at Home for the Holidays

A dinner setup in an intricately designed ballroom

George Cruikshank
In collaboration with Pierce Egan

This image depicts the characters of Egan's Life in London—Corinthian Tom, Corinthian Kate, Sue, Jerry Hawthorn, and Bob Logic—touring Carlton House.

The “Ne Plus Ultra” of “Life in London.” – Kate, Sue, Tom, Jerry and Logic; viewing the Throne Room, at Carlton Palace.

Exhibit Tags

Exhibit Tags
fashion
aesthetics
satire

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