THE JACOBEAN PERIOD
The Jacobean Period covers almost a century (1603–1690). In its earlier stages, therefore, it is still Elizabethan in spirit, and in its old age it is largely influenced by the taste of the dominant French court. Flemish and Dutch art and manufactures, therefore, were extremely influential in forming what is known as the Jacobean style.
This period covers, of course, a portion of the reigns of Louis XIII. and Louis XIV.; and much of the furniture fashionable in France at this period was imported into England; but with the exception of the wealthiest homes sumptuous articles are not common.
Oak and walnut are the woods chiefly used at this period, but we also find lime, cherry, and cypress (the latter especially for chests).
LOUIS XIV. PERIOD
The culminating period of the long reign of Louis XIV. (1643–1715) was reached at the Treaty of Nimeguen in 1678. From this time forward, France not only dominated Europe by force of arms, but also by her taste and achievements in art. Paris set the fashions for the whole Continent and for the Court of Charles II. across the Channel.
The “Roi magnifique,” now able to indulge every fancy and whim, makes the Palace of Versailles the symbol of the time. Although the architect Mansart began the improvements there in 1661, it was not until 1682 that the residence of the Court was fixed at Versailles. Then it became the expression of pomp, pleasure and magnificence. Magnificent Versailles, with its water-works, its statues, its groves, its gardens, its galleries, its pictures and its furnishings, cost the King a fortune.
Doubtless the richness and beauty of these rare articles developed the taste for carved and gilded wood. It is probably owing to this dazzling and glittering effect of gilded wood that has caused critics to refer to the preceding style of Louis XIII. as “sombre.”
THE LOUIS XV. PERIOD
The gloom and solemnity of the last years of Louis XV., ruled by a morose monarch and his bigoted, unacknowledged wife, gave place to the license of the Regency, and the exuberant vitality of a young king, the influence of which is fully reflected in decorative art.
The Orient was exercising a powerful influence on French as on Dutch and English taste. We have seen that a liking for the contrast of richly coloured exotic 161 woods was noticeable toward the end of the reign of Louis XIV. The Siamese embassy with its rich offerings of porcelain and lacquer had concentrated the eyes of the Court for a moment on the art of the East. French artists catered to the novelty, and from then till the middle of the Eighteenth Century the lacquers of China and Japan were actively though freely imitated.
The frames of the chairs and arm-chairs of this period were not only carved and gilt, but were painted or lacquered as well. Sometimes one colour only was used, which was brightened by threads of gold, or white, or some gay hue harmonizing, or contrasting, with the upholstery. Sometimes the wood was painted in several colours, and often, too, another kind of painting, known as camaïeux, was used. Simpler arm-chairs, and chairs that were met with in the drawing-room were of natural oak, or beech, polished with an encaustic.
The elbows too were more wavy and were always of a most 205graceful sweep. At the beginning of this period, the back was of the form of a violin, but later the medallion form became more popular.
The geometrical panels of the new drawing-rooms were coloured that deep brown, mingled with several other colours, which received the name genre étrusque. Listen to these discords: “On the ceiling is a reddish-brown rosette in the form of a parasol; a sky-blue frieze is sprinkled with white cornucopiæ. On the sides of the mirror, sky-blue pilasters are bordered with violet and white grape-leaves for ornament. Large and small light brown panels with violet borders are ornamented with little green parasols, and cameos with blue background with white figures and brown and red ornaments. And in that loud chocolate colour where some reds and greens try to recall to your mind the forsaken hues of the past are mingled three shades of rose, amaranth, blue, lilac, grey, emerald-green, moss-green, aventurine, citron, straw and sulphur. That gentle scale that sang so sweetly on the furniture and walls of by-gone days! that gentle scale that miserable taste has forsaken for the tri-colour, and for wall-paper printed with the distinctive signs of equality and liberty, from Dugoure’s Republican Manufactory, place du Carrousel at the so-called Hôtel de Longueville. Then the taste of the Revolution runs after the factory of the rue Saint Nicaise, place de la Réunion, to find some pictures with the civic inscription ready for each citizen to place above his door bearing these words: ‘Unity, Indivisibility of the Républic, Liberty, Fraternity or Death.’”
The Parisian hôtels that were remodeled and newly furnished for the newly rich could not suggest the slightest reminiscence of the aristocratic life that they had witnessed. The artists, therefore, were forced to go to Greece and Rome for their models and motives. After Napoleon’s campaign in Egypt, the sphinx is frequent as a decoration, although it had long been familiar. These show that the so-called Empire style was in process of formation before Napoleon attained power, period 1793 and 1796.
There was a tendency for patterns to become smaller; damask was ornamented with little figures, or stripes; Gobelin tapestries were supplanted by designs in grisaille on a red, blue, or green background. These many printed stuffs had pictures derived from Greek, Egyptian, or Roman subjects, or mythology, and appeared as if printed on paper.
ART DECO
Art Deco, an art and design style popular in the 1920s and 1930s, began in Paris as a result of a large decorative arts exhibition in 1925. It quickly spread all over the world where it found use in fine art, architecture, fashion design and decorative arts. Art Deco celebrated modern life and emphasized luxury and sophistication. Art Deco works featured new materials like chrome, Bakelite (a type of plastic), chrome and plate glass, as well as costly materials like ivory, mahogany and dark lacquered surfaces. Lacquering was a process that coated materials like wood with many layers of resins to create hard shiny surfaces.
When you look at an Art Deco building or object, you see common elements like geometric shapes, often in the form of zigzags or chevrons (upside down V forms). Art Deco emphasized vertical lines and smooth streamlined surfaces and often used bold colors and high contrasts.
Furniture created during Art Deco's early years tended to be an expensive luxury. In the 1920s, the major Paris department stores established decorating departments to provide consumers with everything nesseccery for style.
Some furniture used rich hard woods like ebony or macassar, and also featured veneers, or very thin layers of wood used as a surface covering, of exotic woods like zebrawood and mahogany.
Above is an an example of a cabinet by Jacques-Emile Rhulmann (1879-1933), a prominent early French Art Deco furniture designer. Rhulmann used exotic wood to great effect, allowing natural wood grains to emphasize the light linear quality of his designs. Inlays, designs made by setting pieces of substances like ivory, brass or mother-of-pearl flush within a large surface.
The Left interior designed by another Art Deco famous designer Henri Rapin (1873-1939). in 1924 he became a principal at the Manufacture Nationale de Sevres and artistic director of Ecole du Comite des Dames de l’Union Centrale des Arts Decoratifs.
Inspired by the era of escapism, the late 1920’s and 30’s brought us Hollywood sirens and Art Deco style. Christopher Guy’s timeless designs hark back to this golden age of glamour.
Largely influenced by French modernist designers of the 1930s, Christopher’s designs capture a sense of history. Dark, mahogany wood, high-quality metallic detailing, sumptuous fabrics and leathers signify Christopher Guy’s opulent furniture and accessories.
CLASSIC MEETS CONTEMPORARY
In Parisian apartments that are already flooded with charm and history, it doesn't take much to make these interiors the envy of all. But beyond the French doors, intricate cornices, and herringbone floors, there is something else the French do better than anyone: mixing classic French furniture with modern features and personal pieces.
Dating back to the 1970s, this style is unique because it borrows elements from many other aesthetics. In it, you can see nods to modern, traditional, art deco and even futuristic design. Form is one of the foundational elements of contemporary design. Contemporary design takes things a step further. These spaces often feature a mixture of both straight and elegantly curved lines, which can be seen as a slight nod to this style’s art deco roots.
Neutral shades are the cornerstone of contemporary design.
The final key to creating a contemporary design is layering plenty of lighting throughout the room, paying special attention to natural light. In this case, contemporary style borrows a detail from mid-century modern design.
Unlike other styles, contemporary design is defined by the fact that it’s essentially a hodgepodge of other aesthetics from the later part of the last century.
Christian Lacroix Maison for Roche Bobois
The Ligne Roset brand is synonymous with luxury and has come to symbolise an elegant way of life. The collection offers a complete lifestyle choice, from furniture to decorative accessories, such as lighting, rugs, and textiles. Each product is approached with creativity as the key value.
TO BE CONTINUED NEXT BLOGS, Inspiration: Italian Style, Russian Style, English Style.