{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/89085"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/89085","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"\"A painterly performance of politeness: Jean-Étienne Liotard’s \"\"Still Life: Tea Set\"\" and identity in eighteenth-century England\"","abstract":"This thesis explores how Jean-Etienne Liotard’s 1783 painting, Still Life: Tea Set, functioned within its eighteenth-century context. Rather than considering the image as an academic exercise, depiction of the chinoiserie craze, or as evidence of the aging artist’s waning virtuosity, as other scholars have done, I argue that Still Life: Tea Set functioned as an active agent within its specific social matrix. Utilizing eighteenth-century sources as well as the work of contemporary scholars, this study closely examines the still life in relation to the phenomena of politeness and superficial self-fashioning, or the ancien régime of identity—a concept put forth by Dror Wahrman. When considered within the historically situated themes of eighteenth-century consumerism, the emergence of the Georgian middle-class, and polite society, it becomes clear that Still Life: Tea Set was an image created for consumption within a very specific cultural matrix, within which it was able to actively generate a range of flexible meanings for viewers.","abstract_html":"This thesis explores how Jean-Etienne Liotard’s 1783 painting, Still Life: Tea Set, functioned within its eighteenth-century context. Rather than considering the image as an academic exercise, depiction of the chinoiserie craze, or as evidence of the aging artist’s waning virtuosity, as other scholars have done, I argue that Still Life: Tea Set functioned as an active agent within its specific social matrix. Utilizing eighteenth-century sources as well as the work of contemporary scholars, this study closely examines the still life in relation to the phenomena of politeness and superficial self-fashioning, or the ancien régime of identity—a concept put forth by Dror Wahrman. When considered within the historically situated themes of eighteenth-century consumerism, the emergence of the Georgian middle-class, and polite society, it becomes clear that Still Life: Tea Set was an image created for consumption within a very specific cultural matrix, within which it was able to actively generate a range of flexible meanings for viewers.","abstract_has_math":false,"creators":["Kalaher, Emily Danielle"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"M.A.","degree_level":"Thesis","degree_discipline":"Art History","degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2016,"date_issued":"2016-03-02T19:45:08Z","date_published":"2016-03-02T19:45:08Z","updated_at":"2026-07-22T22:26:32Z","subjects":["Jean-Etienne Liotard","still life","tea set","identity","self-fashioning","eighteenth-century","England","Liotard","surface","ancien regime of identity","polite","politeness","polish","agency","consumerism","middling sort","middle class","Georgian","le peintre turc","tea","porcelain","blur","sugar"],"languages":["en"],"rights":["Copyright 2015 Emily D. 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