The furnishings of the Louis XV period (1715-1774) are characterized by curved, light, comfortable and symmetrical shapes; it replaces the more formal, box-shaped and massive furniture of the Louis XIV Style. It used marquetry, using exotic wooden inlays with different colors, as well as ivory and mother of pearl.
This style has three different periods. During the early years (1715-1730), called the Regency, when the King was too young to rule, the furniture followed the great, geometrical style of Louis XIV. From 1730 to about 1750, the period known as the first style, it is much more asymmetrical, ornate and vibrant, in a mode called rocaille . From about 1750 until the death of the King in 1774, a reaction arose against the excesses of rocaille. The Second Style of Louis XV shows the influence of neo-classism, based on recent archaeological discoveries in Italy and Greece. it features Roman and Greek motifs. Furniture-furniture then false decorative decorative elements Chinoiserie and other exotic styles.
Louis XV's furniture was designed not for the vast palace rooms of Versailles of Louis XIV, but for the smaller and more intimate salons made by Louis XV and by his mistress Madame de Pompadour and Madame DuBarry. This includes several new types of furniture, including the commode and chiffonier, and many pieces, especially chairs and tables, are designed to be moved easily reconstituted or moved from room to room, depending on the type of function.
Video Louis XV furniture
Histori
With the death of Louis XIV on September 1, 1715, his grandson, Louis XV, was born in 1710, becoming King. Due to his young age, France was ruled by a Regent, Philippe of Orleans, until 1723. During this period, the style of furniture slightly changed from the period of Louis XIV; it is very large, luxuriously decorated and solemn, designed for the giant country spaces of the new Versailles Palace. In 1722 Louis XV moved from Paris, where he lived with the Bupati, to Versailles, started his own reign, and gradually imposed his own taste on art, architecture, and furniture.
Louis left the exterior of Versailles and most of the other palaces unchanged, but from 1738 he redesigned the interior extensively, created petits apartments , or smaller apartments and salons for himself, Queen, Marie Leczinska, whom he married in 1725, and later, to his principal concubines, Madame Pompadour and Madame du Barry. In these salons, the traditional etiquette and formalities of Louis XIV were abandoned. The new suites of these smaller rooms are equipped with new styles that meet the need for comfort, intimacy and elegance. Beginning in about 1730, his preference is for a style called
Magnificent house with rocaille interior soon appeared in Paris. They include HÃÆ'Â'tel Soubise in Paris, (now National Archives) in 1705; HÃÆ'Â'tel Matignon (now the residence of the French Prime Minister) in 1721, by Jean Courtonne; and HÃÆ'Â'tel Biron (now MusÃÆ'  © e Rodin) by Gabriel and Jean Aubert the Elder. They also appeared in the French province, the royal residence by Emmanuel HÃÆ' © rà ©  © in Nancy, and also in Aix-en-Provence and Bordeaux. All of these buildings feature rooms styled in new style; The bedrooms become very important, and are surrounded by smaller rooms and cabinets, including a completely new room, a dining room. Everything needs new furniture to fit new styles and settings.
For a quarter of a century, furniture designs of the dominant rocaille style, especially under the influence of Juste-AurÃÆ'¨le Meissonier (1695-1750), the Italian-born architect who became the royal architect and designer Louis XV, and the decorator Nicolas Pineau (1684-1754). Under their influence, a straight line disappears, replaced by curves, ornaments losing all symmetry, and flower bouquets appear everywhere. Designs inspired by Chinese art and other exotic sources emerge rapidly, though the rocaille style never reaches the strength of the rococo style that emerged in Italy, Austria and Germany.
In the 1740s, the force began to slowly change; the decor becomes less luxurious and more thoughtful. In 1754 the brothers of Madame de Pompadour, Marquis de Marigny, accompanied designer Nicolas Cochin and delegation of artists and scholars to Italy to see recent discoveries in Pompeii and Herculaneum, and toured another great classical monument. They returned energetically for a new classic style, based on the Roman and Greek monuments. In 1754 they published a manifesto against the Rocaille style, calling back to classicism. Marigny, after the death of Louis XV, later became the building director for Louis XVI.
Betwewen 1755 and 1760, the form of furniture and interior decoration began to transform into what is known as the Louis XV Second Style, or Style Transitions . Decorative
Maps Louis XV furniture
Designer
The earliest furniture designers under Louis XV during the Regency include Claude III Audran, who has been responsible for furniture design under Louis XIV; Pierre Lepautre, who in 1699 became chief designer for Louis XIV, and Gilles-Marie Oppenordt, born in Holland, who became the furniture designer for the Bupati. The design of Opponordt in 1714 for the decoration of the Hotel de Pomponne at Place des Victoires, which features curved S and C forms, helped introduce this new style to the people of Paris. Another important character in introducing a new style is the painter Watteau, a former pupil of Audran, who, in addition to his famous paintings, created an arabesque design for wood from La Muette's new chateau.
In the 1730s, renowned designers included sculptor and architect Nicolas Pineau and jewelry seller Juste-Aurà © le Meissonnier; Their work features more elements of asymmetry, winding flower design and opposite curves. In 1736 the sculptor and sculptor Jean Mondon published Premier Livre de rocquaille et carte, the first book on the style, and included the first to include Chinoiserie elements, especially dragons, phoenixes, and other characters. Their design carvings for furniture, wood crafts and other decorations are widely circulated throughout Europe, making rocaille styles a model for artists and craftspeople in other countries to follow.
Craftsmen
The Louis XV furniture was created by the intricate network of designers and craftsmen. The Menuisier , create a wooden furniture framework, held jointly by the structure and wood chevilles or pens; the use of nails or glue is prohibited. The Ebenist then covers the original frame and forest with a thin piece of exotic wood, called marquetry. During the reign of Louis XIV ebony wood was most often used for this cover, but, beginning in 1675-80, more exotic and colorful wood was used, which could have a more beautiful effect. These are sometimes placed in cubic designs, or checkerboards, or represent arabesque, floral patterns, trophies, or beautiful scenes. Initially the plaque is about one centimeter thick, but at the end of the period the plaque is only slightly more than two millimeters thick. Then the furniture was finished by the bronziers, which made the handles and knobs; the doreurs who gild them; the fondeurs , which makes the metal; the chiselers or wood sculptors, which make decorating details, feet, and other carvings; laqueurs and vernisseurs , which use multiple layers of lacquer or varnish.
After 1751 each work was signed by an expert craftsman who oversaw the work. This flag, called Estampille , uses a hot iron to mark the piece with the master initials. It is usually placed on the back of the rear seat traverse, under the marble commodes and secretary , and under the ceinture table around it. signs are often lost, either forgotten by craftsmen, or tampered with. Given the high value of the discount signed by the famous craftsman, Fake Estampilles is unknown.
Chairs and sofa
Between 1769 and 1775, furniture designer AndrÃÆ' Â © Jacob Roubo published a series of engraving books called L'Art du menusier , detailing categories and styles. He split the seats into two categories; those with straight backs, called ÃÆ'¡ la Reine , and those with rounded backs, called en cabriolet . The chairs are usually lighter, often have seats and cane backs, and can be moved easily. including some new styles, especially the voyeuse small armchair with rear armrests, so that the sitting person can face forward or spin and sit in a chair with his hands behind the chair.
The fauteuils , or chairs, are larger and designed for comfort; their style evolved during the reign of Louis XV. During the early years of the District (1715-23) the short-sleeved seats have arched legs, the upper part of the back slightly curved, while the support of the back and arms is straight. The seats of the central Louis XV period (1723-1750) were smaller than the Louis XIV period, but were more comfortable. The legs are more curved, the upper back is rounded, and often have small decorative designs. The back of the chair takes the form of a more elegant violin. This form is known as Chaise a la Reine , or "Chair of the Queen."
Various other new forms emerge, designed specifically for comfort. The Bergere has a low seat with extra pillows, and sometimes adds a padded wing over the arms on both sides of the back that protects the head against the wind, which also makes it easier to take a nap. Another new type introduced is marquise , basically an expanded chair for two people sitting, and chaise longue , an armchair with an extended chair to support the legs, and The Duchesse , where two seats can be combined with an intermediate extension. Another new type is Fauteuil de cabinet , a kind of chair designed to go with a desk, and to provide comfort while writing. It's usually covered with leather tied with gold spikes to the frame, has rounded corners, and one seat leg is placed in front, another is just behind, for greater stability. The curved back and arm of the chair cover the sitting person.
The passion for oriental and exotic soon affects the furniture. A new type of chair, La Sultane was introduced, with two places; another type called Ottomane , with its back in a form called en gondola , and the arm wrapped around an oval seat, and another variety, called la papose , without arms or back; and finally Le Sofa , featuring a removable and rearranged pillow.
The last phase of Louis XV's style, the gradual transition to the neoclassical, has a limited effect on seats. Its basic forms still exist, but the ornaments increasingly take the form of a flower strand called a l'ÃÆ'¡ntique in a recurrent rhythm, opposing the form of a foot and a carved engraving frame.
Console and table
Table Desk and console or Console, designed to be placed on the wall, often in front of a mirror, and holding a statue or porcelain object. It was one of the most luxurious furniture from the early period of Louis XV. Usually made of teak, carved and plated, and dampened with ornament
Other popular table styles are bureau plate , or flat table. It was introduced by AndrÃÆ' © -Charles Boulle around 1710 in the late Louis XIV government, as a replacement for a table mounted on top of two columns of images. Early versions by Boulle are made of ebony and black wood, and have eight legs, and six drawers, which are decorated with gold-plated bronze handles. The slightly curved leg ends with a deer-shaped golden deer. Bronze Gilded espagnolettes adorns the corners and legs. Later in that period, the flat table featured an abundance of marquetry; they are made of teak or spain, embedded with thin plaques of exotic woods with contrasting colors. The creator of another famous table is Charles Cressent, who carries the delicate and harmonious Boulle's ornamental style.
A number of small, special and portable tables appeared around after 1755, some of them designed for Madame de Pomapdour. These include table de chevet , a very small utility table made of teak wood and decorated with rosewood and other precious wood, which can be inserted into the closet when not needed; table d'en-cas , or a "Just in case" table, a small piece with two drawers, a small closet with a baked door, and a marble top; ChiffoniÃÆ'¨re , a small table with arched legs and a porcelain top. Another small table is a cabaret table or ÃÆ'¡ cafà © à © , with the top of a small marble and long legs, where coffee or drinks can be served. The version introduced in 1770 featured geometric design and neoclassical decorations around the plateau.
Other types of popular small tables are the Table de toilette , or dressing table. One particular variety, en coeur , or heart-shaped, specifically designed for men; it stands on three legs mounted on a roller, contains a variety of drawers and small compartments, and displays a folding mirror on top.
At the end, the second style of Louis XV, after 1750, the table loses the rococo curve and retrieves the classical (or imaginary classical) detail, including the table legs in the Doric column form; griffon claws and lion paws on the legs; trophies, arms, friezes, and nymphs, tripods and horns are numerous. This style is called, somewhat imaginative, a la Greque , and perpetuates the neoclassical periods to come.
Komoditas dan peti
The Commode (whose name means "comfortable") was created under Louis XIV to replace coffre , or a big chest. It was heavy and boxy, with short legs, and gold plated bronze ornaments abound. During the Regency and early Louis XV styles, especially on the Charles Cressent commodes, commodes become more graceful, with longer legs S and espagnolettes, or stylish female torques, in the corners above the feet. The front of the commodes becomes more rounded in shape. Bronze vines that rolled curved and injured the face of the building. The bronze ornament in the form of a mask was replaced by smiling female faces, palmettes, and, later on that period, a new theme, a stylish bat wing. Shellfish is a common central element of rocaille decoration, often combined with acanthus leaves. The drawer handle is shaped like an interwoven flower. Images of various animal sculptures also appear near the end of the earliest period.
A large number of skilled workers from across Europe are employed to make refined wood commodities and other furniture for new apartments built by Louis XV at Versailles, Fontainebleau, and other residences. They include Jean-FranÃÆ'§ois Oeben, Roger Vandercruse Lacroix, Gilles Joubert, Antoine Gaudreau, and Martin Carlin.
When the advanced period, marquetry, or wooden inlay of different colors, becomes smoother and more dominant. Various geometric patterns, including dams, stars, and losanges, appear, along with bouquets made of fine marquetry. The new technique of lacquer wood was introduced, based on Chinese and Japanese techniques, which are often used on the commode front panel. Certain variations, called faÃÆ'§on de Chine or "Chinese mode" are introduced, which distinguish gold bronze ornaments and handles against black lacquered wood. Designs often borrow motifs from Chinese and Japanese art.
Beginning in 1755-60, the reaction against the excesses of the rocaille form began. The shape of the commode becomes more box-shaped, flat front, and shorter legs, although they retain a slight S curve. The face of commodes is decorated with the geometry of oak, rose or snake friezes and curtain motifs, the earliest manifestation of the Greco-Roman Neoclassical style.
The new form of commode, Cartonnier , appeared in the 1760s, inspired by the fantastic ideas of ancient Greek furniture. The front is lavishly decorated with friezes, sleeves and lion heads, while at the top, the pedestal is supported by two scrolls of volutes held by a group of replicas of classic Greek sculptures.
Desk
During the reign of Louis XV, the bureau and secretary gradually evolved into modern table shapes, along with more complicated variations. At the beginning of the 18th century, Andrà ©  © Charles Boulle and Charles Cressent have created the bureau au plat . a desk with drawer columns, elegant curved legs, gold-plated bronze decorations, and fine marquetry in geometric shapes. Jacques Dubois made a series of tables that were celebrated in this way in the 1740s.
Around the year 1750, new varieties appeared, called Secretaire ÃÆ' capuchin or ÃÆ' la Bourgone , which contained a removable drawer section, while the top was folded into the writing surface. In addition to the drawer, it contains a number of secret compartments hidden inside. Many other variants appear shortly thereafter; Secrà ©  © taire en pent , or a sloping table first appeared around 1735. It was a small cabinet with a sloping front that opened to the writing surface. It's also called en dos d'ÃÆ'  ¢ ne , or "donkey backstroke". Madame de Pompadour has one of them, made between 1748-52, with a Chinese-style red and blue varnish, combining rocaille and exoticism. Mathieu Criaerd made a secretary in this style sometime around 1750, with marquetry violette, amarante, satin wood, and gided bronze.
A much simpler variation, the debut pupilre ÃÆ' ÃÆ' Â © crire , the pulpit to write while standing, arrived at almost the same time. The best models are usually made of oak and cypress, covered with rosewood marquetry, satin wood, and spinach. They have small wheels to move easily, have the compartments locked beneath the top sloping surface, and the shelf below for large documents.
The Secretaire en armoire is a larger and more vertical variation, based on the shape of a cabinet; it is a large chest with folded writing surfaces and drawers and shelves in it. It was designed to stand on the wall, and appeared in about 1750. It often features marquetry in geometric patterns resembling dark and light wood cubes, a design popular in the later years of the Louis XV period.
The Bonheur-du-jour is a small table with a cabinet that appeared around 1760. Following the new style of the Louis XV period, there is no bronze gilded. It features an elegantly curled foot, but its top is geometric, with delicate marquetry inlay.
The most famous new table type created under Louis XV is the Bureau ÃÆ' cylindre or rolltop table, which appeared around 1760. The master of this form is Jean-FranÃÆ'§ois Oeben. It does not have gold plated bronze other than a delicate ornament at the top ,; marquetry of very nice flowers, and interiors with secret compartments. Many variants are made, including the Louis XV table which is now on display at Versailles.
Bed
Under Louis XV, the bedroom is the place of ceremony; The King's formal awakening in her bedroom (even if she is actually sleeping elsewhere) is a formal event, attended by court members and visitors to the Palace. The shape of the bed and the lid evolved under Louis XV. The initial bed has four posts and a canopy that is hung from a rectangular shape on top. Under Louis XV, Lit a la polonaise appears, with a canopy hung from a crown-like structure; and Lit ÃÆ' la Duchesse , where the canopy is supported only from one end. Beds are usually separated from the rest of the room by a fence, and the benches are arranged outside the fence for the Court to witness a formal awakening.
The famous Death Encyclopà ©  died of Denis Diderot and Jean le Rond d'Alembert (1751-72) including images of the bed a la Polonaise , and a la Turque (more lots of ornaments and exotic versions of Duchesse) and the bed is placed into a niche. (Volume 8, page 216).
Transition From Rocaille to neo-classicism
Later in the reign of Louis XV, between 1755 and 1760, furniture tastes began to change. The rocaille design began to be more wise and controllable, and the influence of antiquity and neo-classism began to emerge in the new design of furniture. Commodities become more geometric forms; decorations changed from rocaille to geometric shapes, garlands of oak leaves, flowers and classical motifs. The legs gradually change from straight-to-dent, often modeled after Greek columns or romance, tapering to a point. The general decor includes a stylish tree cone, and ribbon tied. The new type of tall cabinet, Cartonnier , made its appearance between 1760 and 1765. It took inspiration from Greek mythology and architecture, with friezes, domes, carved trophies, bronze lion heads, and other classics. , element.
Ebenist Jean-Henri Riesener, Jean-FranÃÆ'§ois Leleu, Martin Carlin and David Roentgen and Georges Jacob's menuiser are one of the most important creators of the late transitional style of Louis XV. Their career continued and peaked during the next Louis XVI's reign.
List of major furniture designers and creators under Louis XV
- Claude Audran III (1658-1734)
- Andrà ©  © Charles Boulle (1642-1732)
- Jean-Philippe Boulle (1678-1744)
- Charles Cressent (1685-1768)
- Mathieu Criaerd (1689 - 1776)
- Louis Delanois (1731-1792)
- Antoine Gaudreau (1680-1746)
- Juste-AurÃÆ'¨le Meissonnier (1695-1750)
- Jean-FranÃÆ'§ois Oeben (1721-63)
- Gilles-Marie Oppenordt (1672-1742)
- Nicolas Pineau (1684-1754)
- AndrÃÆ' Â © Jacob Roubo (1739-91)
- Bernard II van Risamburgh (1730-67)
- David Roentgen (1743-1807)
Notes and Excerpts
Bibliography
- De Morant, Henry (1970). Histoire des arts dÃÆ' Â © coratifs . Librarie Hacahette.
- Cabanne, Perre (1988), L'Art Classique et le Baroque , Paris: Larousse, ISBN 978-2-03-583324 -2
- Ducher, Robert (1988), Caractà ©  © ristique des Styles , Paris: Flammarion, ISBN 2-08-011539-1
- Renault, Christophe (2006), Les Styles de l'architecture et du mobilier , Paris: Gisserot, ISBN 978-2-877 -4746-58
- Wiegant, Claude-Paul (2005), Le Mobilier FranÃÆ'§ais- RÃ © © gence Louis XV , Paris: Massin, ISBNÃ, 2 -7072-0254-1
- Louis XV Style. (2008). In EncyclopÃÆ'Â|dia Britannica . Retrieved 2 May 2008, from EncyclopÃÆ'Â|dia Britannica Online
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