Chapter 23 Louis XVI & French Provincial - CHAPTER 27 Directoire, French Empire
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ch-23-PPTaccessible.pptxArchitecture and Interior Design: An Integrated History to the Present
First Edition
Chapter 23
Louis
and French Provincial
1774 – 1789
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Copyright © 2012 Pearson Education, Inc. All Rights Reserved
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H. Early neoclassical
Renewed interest in classical antiquity
International style begins in Rome, 1740s
Outgrowth of scholarship & archaeology, reaction to Rococo
Strong theoretical base
Tries to imitate or evoke images of Ancient Greece & Rome
Regards antiquity differently than before
Divides it into different periods & styles with different visual characteristics
Uses various traits to solve present design problems
Main impetus—excavations at Pompeii & Herculaneum
Fills gap in classical knowledge—domestic interiors
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Louis Roman numeral sixteen. and French Provincial
Louis
returns to classicism
Rejection of Rococo
Response to interest in Classical antiquity
Architecture
Severe & monumental or graceful & elegant
Interiors, furniture, decorative arts
Maintain charm & scale of Rococo
Lines straighten, free-for curves become geometric, ornament again from Antiquity
French Provincial—architecture, interiors, furnishings of middle class and peasants
Simplified high styles with emphasis on function
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Concepts
In 1730s, critics attack Rococo for its artificiality & lack of classical order
Symptomatic of depraved society
Call for classicism that is rational, truthful, natural or derived from nature based upon ideas of Enlightenment
Insist that association with ideal architecture of Antiquity will engender exemplary French citizens
Unsettled times create desire for stability seen in order, repose, & other classical attributes
Pompeii & Herculaneum inspire renewed interest in classical past
Architects study ancient buildings & publish findings, giving Neoclassicism a sound theoretical base
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Characteristics and Motifs
Light scale, rational planning, mathematical proportions, straight lines, geometric forms
Classical attributes, forms, & details in architecture, interiors, furniture
Called goût grec or goût arabesque
Motifs—Greek, Roman, Etruscan, Egyptian sources; garlands, swags, frets, palmettes, classical figures, urns, sphinxes, balloons after first successful balloon flight in 1783
Some Rococo motifs, themes continue—flowers, bouquets of flowers, shepherds, shepherdesses, farm tools, musical instruments, Chinoiserie, singerie
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23.1
Motifs: Vase in porcelaine dure de Sèvres; decorated by Boizot and Thomire; designs for
marquetry panel vignettes, c. late 18th century; by Pierre-Gabriel Bethault. Louis
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Architecture
Had never completely rejected classical influences
Product of rationalist views of architects
Geometric volumes, structural honesty, simplicity
Block-like structures with plain facades, minimal ornament
Scale—monumental to elegant & refined; proportions from ancient sources
Classical attributes give dignity, grandeur
More archaeologically correct than before
First-hand study, publications
Assemblages of ancient motifs & some exact quotations of ancient buildings
Result is clearly contemporary, not ancient
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*23.2a
S. Geneviève (Panthéon), 1757-1790; Paris, France; Jacques-Germain Soufflot. Louis
*Substitute image.
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23.2b
S. Geneviève (Panthéon), central crossing with dome, 1757-1790; Paris, France;
Jacques-Germain Soufflot. Louis
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*23.3a
Petit Trianon, 1761-1764; Versailles, France; Ange-Jacques Gabriel. Louis
*Substitute image
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23.3
Le Hameau, c. 1774-1783; Versailles, France; Richard Mique. Louis
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Interiors
Return to classicism in attributes & decoration
Layout, modes of living remain same
Aristocracy still seeking luxury, comfort, pleasure
Some try the (perceived) simplicity of ancient world, as long as it does not intrude on pleasure, comfort
Human scale, light proportions, charm of Rococo
Same floor, wall, ceiling treatments as Rococo
Straight lines, geometric curves, classical motifs, details
Smaller, more intimate spaces
Salon & dining room separate
Lighter, cooler colors
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12
23.4
Cabinet-doré, Royal Apartments, Palais de Versailles, c. 1770s-1780s; Versailles, France.
Louis
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Long Description:
The entrances are decorated with draperies. The walls are decorated with floral patterns. A hanging lamp with lit candles. A table has grand decorations and vases over it. The thrones are arranged.
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23.5
Boudoir of Marie Antoinette, Royal Apartments, Palais de Fontainebleau, c. 1787; Fontainebleau, France; architecture by Pierre Rousseau.
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Long Description:
The room has a low ceiling height the Louis Fifteen. The stucco work in trumeau has human sculptures. The motifs and decoration are derived from Pompeii. It has a lustre a Cristeaux. The chimneypiece is the main focal area. The mirror reflects the light. The different panel widths are typical. It has a small scaled mantel, arrows in a quiver, and a Bergere on the left.
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23.7
Textile: Brocade; France. Louis
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23.8
Lighting: Flambeau, candelabra, applique, France. Louis
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Furnishings and Decorative Arts
Maintains Rococo’s light proportions, slender forms, human scale, comfort, some motifs
Straight lines, geometric curves, classical motifs
Circles, ovals, ellipses
Simple rectangles with ornament softening outlines
Articulation of parts in classical manner
Re-entrant corner with rosette in center
Late in period large areas of plain mahogany
New emphasis on simplicity
All Rococo types continue; new are tables based upon Pompeiian types
Practice of design furniture for specific spaces continues
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23.10
Fauteuils showing various tapestry cover designs; c. late 18th century; France.
Louis
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Long Description:
A rectangle back has a country motif on the back. The chairs have Manchettes on curved arm, curved arm support, Gilded or painted finish common, Rosette in square, apron curved and tapered and fluted leg.
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23.11
Bergère, from the Salon de Jeuxof Louis
Château deCompiegne,1790;
France; Jean-Baptiste Sene.
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23.12
Canapé with tapestry cover. France. Louis
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23.14
Commodewith marquetry and ormolu,1778; France; JeanHenri Riesener.
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23.15
Bed, Louis
bedchamber, Petit Trianon (after restorationin 1985); France.
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23.13
Table in bronze give by Marie Antoinette to Madam de Polignac; France. Louis
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French Provincial: Concepts & Architecture
Provincial or rustique or régional—houses, interiors, furnishings of peasants & bourgeoisie in rural France
Reign of Louis
-French Empire
Inspired & influenced by court or high styles
Simpler, less refined in design, construction, decoration
Less dependent on rank & display, regional varieties
Architecture—medium sized mansions to one-room cottages
Function & tradition over style or design principles
Local stone, brick, wood, plaster
Roofs—thatch, tile, shingles
Grander homes follow prevailing styles
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Interiors, Furnishings & Dec. Arts
Most interiors simply treated
Floors—dirt, stone, brick or wood
Walls—paneling, textile hangings, wallpaper, painted decoration
Rugs, curtains rare
Furniture adapts form, contours, ornamentation of court styles to regional needs & preferences
Comfort, convenience, economy over fashion, human scale, less ornament
Simple construction, carving main decoration, regional differences
Louis
— adapts well to provincial so dominate style
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23.16
Salle de ferme; d’Ille-et-Vilaine; France. French Provincial.
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26.17
Bedroom of Elénore de Warns, Le Charmettes, Savoie; furniture from Louis
Louis
and Louis
periods, and early 19th century; France. French Provincial.
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23.18
Louis
-style chaises à capucines. French Provincial.
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23.19
Louis
Commode, c. 1780; France. French Provincial
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23.21
Louis
chair, buffet, panetière, and various utensils. French Provincial
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Copyright
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