Decorative Art. Albert Jacquemart
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Название: Decorative Art
Автор: Albert Jacquemart
Издательство: Parkstone International Publishing
Жанр: Иностранные языки
Серия: Temporis
isbn: 978-1-78042-884-0, 978-1-78310-787-2
isbn:
Additionally, new things come into being. The real commode with its multiplied divisions, the dresser with numerous drawers, the secretaire which can conceal so many things under its closing panel, can now serve as a writing-table. The bureau itself becomes even more important, placed near the filing cabinet which holds deeds and correspondence; it is topped with a lockable drawer behind which has a sliding shelf that can instantly be pushed back to conceal papers scattered over it from inquisitive eyes.
Form takes unimaginable licence; every object swells to assume fantastic curves, nothing is straight or regular. Angles become rounded or hollowed; unexpected curves line the surfaces. Bulging, twisted, caricatured forms alone are admitted; ormolu rolls along in fantastic borders or gathers suddenly in unforeseen clusters twisted in corners, or forms detached wreaths, and thus an eccentric whole is completed which, while always clever, is sometimes elegant, notwithstanding its singularity.
Caprice is carried to such an extent that the fundamental law of art, propriety, is totally forgotten. To create perspectives for the eye, the piece no longer has parallel sides; they describe an outward curve, attaching themselves to a background which is much broader than the front surface so that the drawers, necessarily of rectangular form, are left isolated in a vacant space which leaves useless cavities between their sides and those of the piece. Later, when cabinet makers wished to return to more sensible shapes, not to lose the picturesque advantages of these fan-like arrangements, they flanked with smaller pieces a species of quarter-circle shaped shelves which housed fashionable trinkets, objects of foreign origin, or rare Sèvres and Dresden porcelain were placed. By returning to the architectural logic of furniture, they added to its richness while satisfying the taste of the day.
Hinge chest, late 15th century. Hungarian oak, encased in iron.
Renaissance chest, 16th century. Carved oak.
Drop-front secrétaire, from the Louis XVI period. Veneer of water green lacquered wood, European finish with grisailles, chiselled and gilt bronze, and marble, 130 × 84 × 34.5 cm. Private collection.
Alsatian Renaissance chest, early 17th century. Inlayed walnut wood, intarsia decoration.
The greater or lesser degree of exaggeration in the creations of the reign of Louis XV affords a species of chronology for this period. First, the endive leaves in slight relief describe agreeable curves and mingle with palmettes and laurels as if to protest against an absolute disconnect from the preceding style, while revealing new tendencies. Later, under the influence of Juste-Aurèle Meissonnier, all timidity disappears; boldness of form becomes so immoderate that the excesses of brass no longer astonish us, which was aided by the immense talent of carvers. There is so much spirit in the pieces composed by Jacques Caffieri and Charles Cressent, the engraving is so delicate and intelligent that we are forced to admire the workmanship despite the style.
Towards the end of the reign, we can foresee the accomplishment of the reform. The endives are less exuberant, the rosette borders and hanging wreaths of flowers are subjected to some sort of discipline; furniture acquires a more regular and quiet appearance. Madame de Pompadour was not a stranger to this movement, which for propriety’s sake was termed the Queen’s style. Marie Antoinette was to complete the reform.
To add a word about Louis XV’s furniture, as in all other things, there is a choice to be made by the man of taste. The marquetry works imitated by painting may be condemned on principle, but some of them still retain a flavour of the period which recommends them to connoisseurs. There is sometimes grandeur in the wood mosaics with varied backgrounds, trophy medallions and accompanying bronzes often assume a monumental importance. We require no further proof of this than the magnificent roll-top writing-bureau exhibited at the Louvre, which possesses its candelabra and time-piece.
Without aiming at examples such as these, we may mention commodes, such as those owned by Sir Richard Wallace and Gustave de Rothschild, in which the handiwork of Caffieri brings forth endive leaves of charming taste and flawless execution. We may recall amongst the masterpieces the charming satinwood furniture, which appeared at the San Donato sale, with inlaid violet flowers stood out as the most graceful chased bronze that could be imagined. As for small furniture for ladies, such as bonheurs-du-jour, shelves and work-tables, there is nothing more elegant.
Commode from Arles, late 18th century. Carved wood.
Furniture panelled with plaques of porcelain
Again, there is no such thing as a perfect classification. Between the end of the reign of Louis XV and the beginning of that of Louis XVI there is certainly no marked transition; the sobered furniture in the Queen’s style is still seen with its chequered inlays and delicately chased bronzes. Louis XV, founder of the Porcelain Manufactory of France, no doubt caused Sèvres plaques with bouquets bordered with turquoise blue to be inlaid in the furniture he had around him or which he offered as gifts. And yet it is more particularly in the reign of Louis XVI and at the time when Amboyna wood and thorny spotted mahogany were replacing marquetry mosaics that porcelain and Wedgwood cameos were inlaid in panels, friezes and the drawers of furniture. It may be possible, therefore, to call the overlaying of furniture with porcelain by the name of the sovereign who so especially admired and patronised it.
In fact, the period of Louis XVI is that in which cabinet-making heavily employed its resources and multiplied its styles. Mahogany was in use from the time of Madame de Pompadour serving only as an additional auxiliary, which did not affect the marquetry trade. It was carried on, even in excess, during the reign of Louis XVI; the elegant secretaire belonging to Doctor Voillemol acts as proof with its subject’s medallions, arabesques, and flower clusters. Its minutely finished bronzes with gold gilding indicate the high rank this piece held in general production. At that time, not only were inlays and veneering used conjointly, but solid woods like ebony and mahogany were employed, along with panels of lacquer brought from the Far East. The true characteristics of the period must therefore be sought in the proper form and especially in the bronzes. We have already said how remarkable were those chased by Caffieri during the reign of Louis XV, but the end of the 18th century raised the art to its highest degree of perfection.
Here a rather singular observation presents itself; at the time when Madame de Pompadour was endeavouring to lead art back to a better track, it was in the name of the sacred and immutable principles consecrated by antiquity. During the reign of Louis XVI, when simplicity of form and sobriety of style were sought, it was still the antique that was to be attained. Unfortunately, nothing could be further removed from antiquity than the elegant coquetry and overcharged fastidiousness of the general decoration of the period, which was, however, to produce one genius, Clodion, who certainly had nothing in common with Greece and Rome. In the final days of the reign when clock-cases without form and rectangular commodes with engaged columns appeared less and less, the articles of furniture of rather melancholy contour, which were only worthy of remark from the manual perfection of their workmanship, still invoked an antique feel. Their main purpose, though, was to prepare the way for the false, stiff style which, through the instigation of David and aided by stiff palmettes and meagre foliage, constituted the Greek art of the first empire.
Where, then, can we find the true character of the Louis XVI’s style? In our opinion it is in those works which, being freed from all exaggeration of contour and redundancy of accessories, perfectly represent the French taste of the 18th century; that is, aristocratic elegance and grace without affectation. We discover these qualities in the work-tables, planters and consoles. The pier tables and armoire shelves supported by delicate СКАЧАТЬ