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The development of a new design aesthetic

on the objects displayed therein (the collection, in a study), the activities performed (painting or sculpting, in an artist’s studio) or the persons inhabiting them (the mistress of the house, in the petit salon and especially in the boudoir). Art historian Charlotte Gere sees the so-called “studio style” and the “boudoir style” as precursors to the Aesthetic movement in Britain. Gere has observed how, in Britain, “classical symmetry and order gave way early in the century to an encroaching ‘boudoir’ style … in all but the sacrosanct male preserves of library and

in Interior decorating in nineteenth-century France
The afterlife of Brunias’s imagery

a rather remarkable depiction of people of colour in eighteenth-century art as something other than marginal attendants serving their white masters and mistresses. An initial major ­­selling point for the Brooklyn acquisition was that the painting ‘documents ­­ a particular reality that the Museum’s collections currently cannot: women of colour as “ladies of the manor” standing at the top of the socio-racial British colonial pyramid’.22 In other words, the museum understood Brunias’s picture as offering a unique representation of Afro-Caribbean agency and elite

in Colouring the Caribbean