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• W3143451685 abstract "During became portrait the fashionable painting, late 1720s called and in England. early the 1730s, conversation In contrast a new type to piece, the of portrait painting, called the conversation piece, became fashionable in England. In contrast to the grand manner of portraiture, which represents life-size figures posing in front of a fanciful backdrop of colossal columns and luxurious curtains, the conversation piece depicts groups of small full-length figures engaged in conversation, music, tea, or cards within a detailed, naturalistically described landscape or architectural setting. Its size, about one square meter, is substantially smaller than that of the formal portrait. The most popular subject for conversation pieces set indoors was the drinking of tea, depicted by all of the major painters of the genre. The three most prolific painters of the conversation piece, William Hogarth, Gawen Hamilton, and Charles Philips, painted a large number of pictures showing the drinking of tea as the only activity.1 From about 1730, other social activities, such as card-playing, began to be portrayed alongside tea-drinking in the same picture.2 In all of these works, the tea utensils were depicted with great care. A tea kettle is displayed conspicuously in the centre foreground of one of the earliest examples of a portrait group featuring tea (albeit on a much larger scale than a conversation piece), Portrait group of gentlemen and a child (PI 1), made by an unidentified painter apparently dated 1698. In the centre of Joseph van Aken's An English family at tea (PI 3), dated around 1720, a maid is pouring water into the Oriental teapot, with matching porcelain tea cups set out on a black lacquer table.3 In A family taking tea by Richard Collins, every piece of the glistening silver tea equipage the tea caddy, tea kettle, milk jug, sugar bowl, tongs, cups, saucers, and spoons is lovingly rendered in detail.4 The depictions of men, women, and children enjoying their everyday pleasures in the conversation piece have often been characterized as informal, intimate, and domestic.5 It seems to illustrate perfectly Roy Strong's ideas of the eighteenth-century portraiture, which are 'first and foremost records of people,' and in sharp contrast to the earlier portraits 'preoccupied with the sitter as symbol.'6 More recently, Ann Bermingham, Marcia Pointon, and Shearer West have considered these pictures as constructs with a specific social agenda.7 The consumption of tea, on the other hand, has also been a popular topic in the study of eighteenth-century material culture in Britain. Despite the scholarly interest in the conversation piece and consumption of tea, however, no one has systematically studied the range of contemporary documents about the actual practice of tea drinking or analyzed the portraits that show the drinking of tea in terms of economic and cultural discourses. Focusing on pictures that were produced in the early stage of the genre's popularity, from the early 1720s to about 1750, 1 will examine how tea party conversation pieces engage contemporary discourses about status. Differences between the actual practices of the tea party and the pictorial representations of it reveal the degree to which these pictures highlight the social standing of those portrayed. Not only was tea a luxury item, but the way of its consumption became a measure of social manners, an important component in defining politeness. To eighteenth-century" @default.
• W3143451685 created "2021-04-13" @default.
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• W3143451685 date "2016-01-01" @default.
• W3143451685 modified "2023-09-24" @default.
• W3143451685 title "Tea parties in early Georgian conversation pieces" @default.
• W3143451685 hasPublicationYear "2016" @default.
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