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Log in through your institution. As opposed to his contemporaries, the artist chose to depict breast-feeang amid a haute-bourgeois family, a subject matter that was no longer prevalent in French art after the beginning of the nineteenth century. He thus sought to undermine the premise of medical literature, which consistently chimed that high-society women abstained from breast-feeding, as they refused to give up their social amusements.
In order to transmit this message, the artist melded—in an unprecedented way—different iconographie traditions, while accentuating the juxtaposition of the suckling baby's bare bottom and the nursing mother's sumptuous ball gown.
Through an examination of the dress, with a particular emphasis on the corset concealed beneath it, this essay illustrates the empowerment of women reclaiming ownership of their own breasts, intricately connected to consumerism and Parisian fashion in the late nineteenth century. Although the new maternal ideal was essentially a male construct, this essay claims that the enthusiasm of bourgeois women for breast-feeding at the end of the century reflected a new sense of femininity that shaped material commodities, instead of being shaped by it, thus distinguishing the "fashionable body" from the "fashioned body.
The Journal of Social History publishes articles and reviews in all fields of social history, regardless of period and region. It seeks particularly to promote work in new topics in social history, where it has established a distinguished record during its year existence. New topics involve both the key facets of the field: exploring the histories and impacts of ordinary people and exploring aspects of the human experience beyond the more conventional historical staples.
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