French furniture consists of the most sophisticated furniture made in Paris for kings and courts, nobles and upper bourgeoisie, on the one hand, and French provincial furnishings made in provincial cities and towns many in Among them, like Lyon and LiÃÆ'¨ge, retain a distinct cultural identity from the metropolis. There is also a rustic artisanal tradition of French country furniture that remained unbroken until the advent of railroads in the mid-nineteenth century.
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Provincial furniture
Furniture made in provincial centers such as Blois and Orlà © ans in the Loire valley, and in Lyon or LiÃÆ'¨ge (Not part of France politically but in cultural orbits), followed at a certain distance of design innovation that begins in the luxury of Parisian commerce , often with lag time that can reach tens of years.
Features typically associated with French Provincial furniture include cabriole feet, and simple toothed carvings. Dining chairs often have carved wheat patterns that reflect the environment of the producing country. The back seat of the stairs with the wicker chairs in a hurry is a typical French Provincial dining chair. The varied finishes though common to all colors are the accumulation of polish or dirt on the engraving over time resulting in an aged patina and an emphasis on engraving regardless of whether the furniture is painted or stained.
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Paris Furniture
In the French metropolitan culture, the French furniture , which defines Paris furniture , embodies one of the major designs in European decorative art, extending its influence from Spain to Sweden and Russia, from the late seventeenth century until the last craft tradition in workshops such as Jacques-Emile Ruhlmann, which ended only with the Second World War. In the nineteenth and twentieth centuries, the classical French furnishings of 1660-1815, have been vigorously collected by non-French, amateurish, English-speakers in history, and have set record prices consistently, since the sale of the Hamilton Palace years 1882, with the result being represented in many national museums.
In Paris, the uninterrupted tradition of apprenticeship was fully formed when the design center for luxury furniture shifted from Antwerp to Paris in the 1630s, slowly interrupted by the Industrial Revolution after the mid-nineteenth century. Perhaps the last of the Parisians who worked from a traditional workshop was ÃÆ' â € ° mile-Jacques Ruhlmann (1879-1933).
French royal furniture
The great tradition of the French royal furniture received its impetus from the establishment of the Royale des Gobelins Industry under the art organization in the Louis XIV ministry of France controlled and directed by its finance minister, Colbert. The preferred craftsmen will qualify for a place in the galleries of the Palais du Louvre, a practice that has started on a small scale under Henri IV. In Gobelins, more than a tapestry was made for the perfection of the royal palace and occasional ambassador prizes: the silver furniture known for Galerie des Glaces at Versailles was produced by silversmiths who worked for the design by Charles. Le Brun in Gobelins.
In Paris, furniture trade is divided among unions with jealousy for offenses. Menuisiers are only busy with carved furniture, which includes beds and all the furniture chairs, as they are to carve the boiseries from the interior that is destined to be occupied. Sculptors and gilders work directly for them. ÃÆ' â € ° bÃÆ' Â © nistes , who took their name from ebony that they worked in a cabinet carved with shallow reliefs and united veneers of turtle and ivory skins, a specialty of Parisian furniture in the mid-seventeenth century. , retaining their control over all luggage furniture intended for coating, often with complicated marquetry. The bronze mounts that adorn these high-style boxes, from the 1660s to the abolition of guilds in the French Revolution, were equipped, and even taken to the workshop by guilds separated from the foundrymen.
French furniture from Ancien RÃ © Â © gime, often characterized by dealers and collectors by the names of governments, such as "Louis Quinze furniture", etc., Can be seen as a representative, even formative, manifestation of a wider European style: French Gothic furniture , from very few survivors; The French furniture of the sixteenth century; Early Baroque furniture associated with Louis XIII, comparable to what was produced in Antwerp; High Baroque furniture sculptures and tectonics associated with Louis XIV; Rococo furniture, associated with RÃ © gence and the reign of Louis XV; and neoclassical furniture, associated with Louis XVI.
The French Furniture of the First French Revolution and Empire was imbued with a more severe and self-conscious phase of neoclassicism, which began to lose its grip on style in the 1830s, with Gothic revivals and Rococo, leading to the eclecticism of the Second Imperial France. Art Nouveau provides a form of reaction to the battle of historicalist styles, and Modernism marks a tighter pause with the past. Art Deco offers a decorative version of Modernism.
Since World War II, furniture manufacture in France, which has shifted from the primacy of the capital itself, has become part of an increasingly international industrial design world.
For an exceptional selection of London spears: see ÃÆ' â € ° bÃÆ' Â © niste.
Note
Source
- Pierre Verlet
- Peter K. Thornton
- Francis J.B. Watson
- Salverte
- Nicolay
- Denise Ledoux-Lebard
- Nadine Neilson
Further reading
- O'Neill, John P., ed. (2006). Dangerous liaison: fashion and furniture in the eighteenth century. New York: Metropolitan Museum of Art.
- Anticstore, ed. (2016). Ebenistes in the eighteenth century. Paris: Anticstore.
See Also
- Louis XIV Style
- Louis XIV furniture
- Louis XV furniture
- Louis XVI Style
- Art Nouveau
- Art Deco
Source of the article : Wikipedia
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