Gilded New York: The Rise of Riches

This semester, there has been an extensive discussion about the emergence, and influence of, social class in twentieth century America. The Gilded New York exhibit, at the Museum of the City of New York, caught my eye most because of its representation of social class in elite New York at the end of the nineteenth century and early twentieth centuries.

Distinct from the portrayal of social class through racial oppression, as we discussed, Gilded New York displays the power of wealth and elevated social status that emerged so prevalently during this time period. As illustrated on the wall within the extravagant exposition, “During these years, the undisputed financial and cultural standard-bearer of America’s Gilded Age was New York City, where wealth was accumulated, concentrated, and flaunted as never before”. With an emphasis on families such as the Vanderbilts, Carnegies, and Astors, by 1892, 27% of the nation’s millionaires resided in New York City. With this, came the refinement of art: such as painting, sculpture, architecture, and the ornamental forms. This exhibition reveals how the aristocratic class conveyed their prominence through the stated, “acquisition and display of extravagant fashions, jewelry, and decorative arts made on both sides of the Atlantic. For the first time, New Yorkers consciously asserted themselves as international tastemakers and their city as a world capital, endowed with an ambition that has made-and remade-the city ever since”.

From the feature of Tiffany & Co. jewelry, ranging from a “beaux arts” brooch made from 18k gold, diamond, platinum, and white opal- and a 20k gold, diamond, pearl, turquoise, and enamel, dog collar- to the display of numerous fans made of feather and fireplaces made of marble, it is evident that the wealthy took pride in, and valued, these accessories and materialistic items, allowing them to stand out from the lower classes. In many ways, this is unique from, but connected to, the theme and portrayal of classes in Native Son, by Richard Wright.

In Native Son, the concern of social class relates to the division between the black population and the white population, resulting from, and apparent through, the ill treatment of blacks. African Americans amid this time lived in fear of whites- the class of higher rank, resulting in the protagonist, Bigger acting out of violence. The economy, and the split among whites and blacks, immensely affects Bigger. His family relies on him to obtain a job, killing Mary is more severe because he is black, and the living conditions of the Thomas’ are much worse than the Daltons’. In this narrative, violence is a source of power, something that Bigger experiences when he kills Mary Dalton, the daughter of the white family that he worked for and later Bessie, his girlfriend. This allows him to feel in control- like never before. Yet, Gilded New York serves as a demonstration of money as a source of power, with the sudden increase of manufacturing and corporations in New York City.

Gilded New York demonstrates that in the late nineteenth century, and early twentieth century- when Native Son takes place- inequality did not only exist among races, but also amidst the distinct social classes. Bigger represents a black man who is uncultivated and oppressed, limiting him in numerous aspects of his life; which leads him on a quest for power and craving for a role in society. Similarly, this exhibit provides that while others were suffering to survive-specifically the poor working class, the elites lavishly spent money on their wardrobe, accessories, luxurious homes, and elaborate parties. Most importantly, this was a time when New York became the capital of fiscal prosperity, with the later establishment of high-end retail and cultural organizations, still currently present.