In 1773, when the Philadelphia couple was visiting, she showed her commitment to Boston by portraying her involved.
This was the year when she staged the Boston Tea Party to protest against the British tax on tea, as a woman without pretension who could manage well without British imported goods.
Meeting throwing it into Boston harbor.
The painting hung the viewer's gaze with confidence and intelligence, she is in the couple's Philadelphia home when Thomas Mifflin, clearly a full partner with her husband in the important merchant and politician, and other leading work of resisting British colonial power.
He is content to sit representatives of the colonies negotiated a strategy for the in the background of this picture, interrupted his reading to look admiringly at his beloved Sarah.
The painting proclaims the couple's identity as Amer by 1773, and it was done by Boston's preemi ican patriots.
Sarah, not her famous husband, is the center of atten.
She sits in the foreground, wearing a stylish silk dress of society in a clear, precise painting style that seemed to decorated with expensive laces, a finely wrought lace cap reveal not only every detail of a sitter's physical appear atop her smoothly coiffed head.
She is rich and ance and personality, but also gorgeous and elegant, but she doesn't wear jewelry except for the laces of the women's dresses and the expensive pol choker.
She is shown with her sleeves rolled up, status, rather uncharacteristically for a woman of ished furniture that signified his patrons' wealth and her social status.
Although his father-in-law was the Boston rep working silk threads on the large wooden frame that sits resentative of the East India Company, the tea was on her polished table.
Her work is domestic and pragmatic, dumped into the harbor, and she was sympathetic to the not the kind of activity we expect to see highlighted in a revolutionary cause, but it was included in the crisis in Boston.
The conditions of urban workers were terrible, both at their factory jobs and in their overcrowded and Industrial, Intellectual, unsanitary neighborhoods.
The seeds of dissent and revolution were sown in several European and Political Revolutions countries in the mid nineteenth century.
The American War of Independence was one of many weak and ineffectual revolutions that shook the established order in France.
This age of merchants dominated European commerce, industry, radical change in society, thought, and politics, and while and politics, and their beliefs and customs defined social transformations were felt especially in England.
The consequences of the Enlighten France and the United States had eroded, particularly in France, in the wake of the throughout the West and the world.
Chaos and bloodshed were brought by the people rather than by a new way of thinking that had its roots in the scien order and stability.
The tific revolution of the previous century began as a literary movement in the 1790s.
John Locke argued that reasonable ism was a counterpoint to Enlightenment rational England.
The idea that the world was knowable and rational was critiqued.
The central premise of Romanticism was that an exploration of emotions, the imagination, and vation, rational evaluation, and logical consideration in intuition--areas of the mind not addressed by Enlighten mathematics and science.
Bernard de Fontenelle ment philosophy could lead to a more nuanced under, a French popularizer of scientific innovation.
He anticipated that a century which will become Romanticism and Enlightenment thought coexisted as datememe datememe datememe datememe datememe, so that all previous centuries ferent parts of a complex cultural whole.
When freed of past religious and political shackles, most Enlightenment philosophers believed that art could be sold to the industrial rich and the men and women could act rationally.
When the state failed, the moral solution was to culture of Paris, because the court culture of Versailles was replaced by the salon rights.
The aristocracy who owned the land and the power that came with it became fashionable in parts of Europe in the 1700s.
Poor tenant farmers were trolled by the Rococo.
When the land-based power king Louis XV was replaced by a regent for the boy Revolution in 1715, the Industrial moved his home and the aristocracy to Paris.
There were three major artistic styles that flourished in Europe and North America during the 18th century.
The French court moved to Paris after escaping its confinement in the rural palace of Versailles.
These became the center of social life for the aristocracy, who cultivated witty exchanges, elegant manners, and a playfully luxurious life that was specifically dedicated to pleasure, leisure, and sensuality.
The salon was hosted on a weekly basis by accomplished, educated women of the upper class.
Their intricately decorated walls and ceilings burst intricate polished surfaces included carved wood panels with exquisite three-dimensional adornments in called boiseries and inlaid wood designs on furniture and gold, silver, and brilliant white paint.
The glitter of silver and gold against white and pas sual paintings hung among the rich ornament; and their tel shades and the visual confusion of mirror reflections all enhanced this Rococo interior.
When the Parisian salons were lit by candles, they must have glit Painting tered with light reflected and refracted by the gorgeous The paintings and sculpture that decorated their surfaces.
The rooms and other elegant spaces were an important part of creating the energy of the aristocracy, which was fancifully dressed in a profusion of their atmosphere of sensuality and luxury.
The Rococo architecture, paintings, tures and sculpted ornament were typically filled with and sculptures around them and were often taken from Classical love stories.
Jean-Antoine Watteau's design of the 1730s was seen as the originator of the architectural elements of the French Rococo style in painting.
Watteau painted this signboard for the Paris art gallery of Edme-Francois Gersaint, a dealer who introduced to France the English idea of selling paintings by catalog.
The title, medium, and dimensions of each work of art were given in the systematic listing of works for sale.
The shop depicted on the signboard is not Gersaint's but a gallery created from Watteau's imagination.
Gersaint sold the sign 15 days after it was installed.
The canvas on the sides of each section was lost when it was framed separately after it was cut down the middle.