Written by Tendenzias

Different forms of furniture in history 5°part

The French Revolution and then the Napoleonic wars led to a unique evolution of the neoclassical style to the so-called “Empire.” Among the most important creators and disseminators of this model were the French architects Charles Lose and Pierre Fontaine. Considerable activity took place in Lombardy by Joseph Beetles (1738 – 1814), who gave his name to a very limited number of furniture featuring decorative inlay in different woods and the Restoration of the neoclassical period. .Dopo tended to simplify purists on the one hand, and is accompanied on the other by Gothic revivals. Then more and more eclectic tendencies take over and already by the time of Louis Philippe (1830 – 1848) there are forms mingling with Baroque Rococo and Classicism. He begins to search for the precious mobile precedeti eras, and in an attempt to imitate, create eclectic furniture forms.

Towards the end of the century, in response to the eclectic taste in fashion and the need to match to create new models that can be used on an industrial scale, the movement was born “flower”, which was named after an English furniture factory, taking the name of “liberty”, and soon spread throughout Europe under various names (Art Nouveau styles Jugend). The Liberty was characterized by a strong simplification of forms and a pronounced linearity and readiness to absorb suggestions and ideas from both the classical art of the Far East, which, of itself informs the period at the turn of the nineteenth century andthe. But it also expresses an awareness of the new function of the so-called minor arts in social life and the aesthetic and tends to develop substantially the premises put in England in the mid-nineteenth century with the Arts and Crafts movement, which aimed to preserve the artistic qualities of everyday objects even in mass production.The movements that occur at liberty, although sometimes present themselves in open opposition to it, in fact, cannot help but accept the problems it has placed. In fact, in Weimar, Germany, after World War I there was located the Baubaus school of applied art which was directed by Walter Gropius, then transferred to Dessau and finally suppressed by the Nazis. A movement of the Dutch De Stijl, which takes place in parallel, also they tend to look for a continuity between the work of art and the production of the world. The change is the willingness to put much more strongly the first use of the object into its architectural and connects closely to the problems of industrial production. Therefore, a convergence of purpose can be seen even within different architectural trends or important in the work of individual architects, though apparently oriented in an inconsistent manner. For Le Corbusier, who was a forerunner of “rationalist” architecture, as Frank Lloyd Wright’s architecture was the forerunner of the “organic” movement, is to put it on one level, with the production of the object and purpose of use as “beautiful”, the

architecture and the object which must be inserted in it. In this sense, although historically emerging from the world of industrial production, also known as industrial design, which aims to return a value of quality mass-produced object, it converges to the same purpose and is one of the most important coefficients of the modern ego.

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