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BAD TASTE OF THE TOWN
The Bad Taste of the Town, also known as Masquerades and Operas: a satire on foreign imports such as pantomime, Italianate architecture and opera. Date: 1724
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Media ID 20156901
© Bubblepunk
1724 Foreign Hogarth Imports Italianate Opera Operas Pantomime Satire Taste Masquerades
18"x18" (46x46cm) Pillow
18"x18" (46x46cm) Faux Suede Pillow with a plush soft feel. Your choice of image fills the front, with a stone colored faux suede back. Flat sewn concealed white zip.
Accessorise your space with decorative, soft pillows
Estimated Product Size is 45.7cm x 45.7cm (18" x 18")
These are individually made so all sizes are approximate
Artwork printed orientated as per the preview above, with landscape (horizontal) or portrait (vertical) orientation to match the source image.
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EDITORS COMMENTS
Bad Taste of the Town," a masterpiece by the renowned English artist William Hogarth, painted in 1724, offers a satirical commentary on the influence of foreign imports, particularly masquerades, operas, pantomime, and Italianate architecture, on the British society of the time. The vibrant and intricately detailed print captures the essence of the era's social scene, where the upper classes indulged in the latest European fads, much to the chagrin of the traditional British values. At the center of the composition, a grand masquerade ball is in full swing. Men and women, dressed in elaborate and extravagant costumes, dance and mingle, oblivious to the chaos that ensues around them. The Italianate architecture in the background serves as a reminder of the European influence that had infiltrated British society. However, Hogarth's satire does not end there. The print also pokes fun at the popular trend of Italian operas and pantomime, with a group of performers in the foreground putting on a disastrous production. The clownish antics of the actors, the chaotic orchestra, and the disinterested audience all serve to highlight the absurdity of the situation. The title "Bad Taste of the Town" underscores Hogarth's critique of the mindless adoption of foreign fads, and the print remains a poignant reminder of the importance of cultural authenticity and the dangers of blindly following trends. The intricately detailed print is a must-see for anyone interested in the history of art, satire, and the social commentary of the 18th century.
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