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Empire style

From Wikipedia, the free encyclopedia
19th-century Neoclassical art movement

Empire style
TheArc de Triomphe of thePlace de l'Étoile, one of the most famous examples of Empire architecture, commissioned in 1806 after the victory atAusterlitz byEmperor Napoleon I
Years active1799–1815
Location
Major figures
Influences
Influenced

TheEmpire style (French:style Empire[stilɑ̃piʁ]) is an early–19th-centurydesign movement inarchitecture,furniture, otherdecorative arts, and thevisual arts, representing the second phase ofNeoclassicism. It flourished between 1799 and 1815 during theConsulate and theFirst French Empire periods, although its life span lasted until the late-1820s. From France it spread into much of Europe and the United States.[1]

The Empire style originated in and takes its name from the rule of the EmperorNapoleon I in theFirst French Empire, when it was intended to idealize Napoleon's leadership and the French state. The previous fashionable style in France had been theDirectoire style, a more austere and minimalist form of Neoclassicism that replaced theLouis XVI style, and the new Empire style brought a full return to ostentatious richness. The style corresponds somewhat to theBiedermeier style in the German-speaking lands,Federal style in the United States, and theRegency style in Britain.

History

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The Directoire style of the immediately preceding period aimed at a simpler, but still elegant evocation of the virtues of theancient Roman Republic:

Thestoic virtues of Republican Rome were upheld as standards not merely for the arts but also for political behaviour and private morality.Conventionels saw themselves as antique heroes. Children were named afterBrutus,Solon andLycurgus. The festivals of the Revolution were staged byDavid as antique rituals. Even the chairs in which the committee ofSalut Publique sat were made on antique models devised by David. ...In fact Neo-classicism became fashionable.[2]

Before the development of the Empire style there was a brief transitional Consulate style that formed under theConsulate. This style introduced many of the motifs of Empire style, taking inspiration from military campaigns, including theFrench campaign in Egypt and Syria, and was more formal and rectangular.[3]

The Empire style "turned to the florid opulence ofImperial Rome. The abstemious severity ofDoric was replaced byCorinthian richness and splendour".[4]

Two French architects, Percier and Fontaine, were together the creators of the French Empire style. The two had studied inRome and in the 1790s became leading furniture designers inParis, where they received many commissions from Napoleon and other statesmen.[5]

Architecture of the Empire style was based on elements of theRoman Empire and its many archaeological treasures, which had been rediscovered starting in the eighteenth century. The precedingLouis XVI andDirectoire styles employed straighter, simpler designs compared to theRococo style of the eighteenth century. Empire designs strongly influenced the contemporary AmericanFederal style (such as design of theUnited States Capitol building), and both were forms ofpropaganda through architecture. It was a style of the people, not ostentatious but sober and evenly balanced. The style was considered to have "liberated" and "enlightened" architecture just as the propaganda that Napoleon had "liberated" the peoples of Europe with hisNapoleonic Code.

The Empire period was popularized by the inventive designs ofPercier and Fontaine, Napoleon's architects forMalmaison. The designs drew for inspiration on symbols and ornaments borrowed from the glorious ancient Greek and Roman empires. Buildings typically had simple timber frames and box-like constructions,veneered in expensivemahogany imported from thecolonies. Biedermeier furniture also usedebony details, originally due to financial constraints.Ormolu details (gilded bronze furniture mounts and embellishments) displayed a high level of craftsmanship.

General Bernadotte, later to become KingKarl Johan ofSweden and Norway, introduced the Napoleonic style to Sweden, where it became known under his own name. The Karl Johan style remained popular in Scandinavia even as the Empire style disappeared from other parts of Europe. France paid some of its debts to Sweden inormolu bronzes instead of money, leading to a vogue for crystalchandeliers with bronze from France and crystal from Sweden.

After Napoleon lost power, the Empire style continued to be in favour for many decades, with minor adaptations. There was a revival of the style in the last half of the nineteenth century in France, again at the beginning of the twentieth century, and again in the 1980s.

The style survived in Italy longer than in most of Europe, partly because of its Imperial Roman associations, partly because it was revived as a national style of architecture following theunification of Italy in 1870.Mario Praz wrote about this style as the Italian Empire. In the United Kingdom, Germany, and the United States, the Empire style was adapted to local conditions and gradually acquired further expression as theEgyptian Revival,Greek Revival,Biedermeier style,Regency style, and late-Federal style.

The more bombastic type ofStalinist architecture is sometimes referred to as Stalin's, or Stalinist, Empire style, which theSoviet Union exported to the widerSoviet bloc - for the most prominent examples seehere.

Motifs and ornaments

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All Empire ornament is governed by a rigorous spirit of symmetry reminiscent of theLouis XIV style. Generally, the motifs on a piece's right and left sides correspond to one another in every detail; when they do not, the individual motifs themselves are entirelysymmetrical in composition: antique heads with identical tresses falling onto each shoulder, frontal figures of Victory with symmetrically arrayed tunics, identical rosettes or swans flanking a lock plate, etc. LikeLouis XIV,Napoleon had a set of emblems unmistakably associated with his rule, most notably the eagle, the bee, stars, and the initialsI (forImperator) andN (forNapoleon), which were usually inscribed within an imperial laurel crown. Motifs used include: figures ofNike bearing palm branches, Greek dancers, nude and draped women, figures of antique chariots, wingedputti,mascarons ofApollo,Hermes and theGorgon, swans, lions, the heads of oxen, horses and wild beasts, butterflies, claws, wingedchimeras,sphinxes,bucrania, sea horses, oak wreaths knotted by thin trailing ribbons, climbing grape vines, poppyrinceaux,rosettes, palm branches, and laurel. There's a lot of Greco-Roman ones: stiff and flatacanthus leaves,palmettes,cornucopias, beads,amphoras, tripods, imbricated disks,caduceuses ofMercury,vases,helmets, burning torches, winged trumpet players, and ancient musical instruments (tubas, rattles and especiallylyres). Despite their antique derivation, thefluting andtriglyphs so prevalent under Louis XVI are abandoned.Egyptian Revival motifs are especially common at the beginning of the period:scarabs, lotuscapitals, winged disks, obelisks,pyramids, figures wearingnemeses,caryatidsen gaine supported by bare feet and with women Egyptian headdresses.[6]

Architecture

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The most famous Empire-style structures in France are the grand neoclassicalArc de Triomphe of Place de l'Étoile,Arc de Triomphe du Carrousel,Vendôme column, andLa Madeleine, which were built in Paris to emulate the edifices of the Roman Empire. The style also was used widely inImperial Russia, where it was used to celebrate the victory over Napoleon in such memorial structures as theGeneral Staff Building,Kazan Cathedral,Alexander Column, andNarva Triumphal Gate. TheRoyal Palace of Amsterdam houses a complete collection of Empire furniture from the time ofLouis Bonaparte, the largest collection outside of France.

Interiors have spacious rooms, richly decorated with symmetrically arranged motifs. The walls are decorated withCorinthianpilasters and vertical panels, having at the top a decorativefrieze. The panels are covered with monumental paintings,stuccos, or with embroidered silks. The ceilings have light colours and fine ornaments.[7]

Historic sites which present an homogeneous ensemble, examples of the decoration of interiors of the early 19th century are:

Furniture

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Clocks and candelabrums

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Main article:French Empire mantel clock

Ceramic

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  • Teapot (théière Asselin), part of a breakfast service (déjeuner); 1813; hard-paste porcelain; height (with handle): 20.5 cm; Metropolitan Museum of Art (New York City)
    Teapot (théière Asselin), part of a breakfast service (déjeuner); 1813; hard-paste porcelain; height (with handle): 20.5 cm;Metropolitan Museum of Art (New York City)
  • Saucer, part of a breakfast service (déjeuner); 1813; hard-paste porcelain; height: 3.2 cm; diameter: 16.2 cm; Metropolitan Museum of Art
    Saucer, part of a breakfast service (déjeuner); 1813; hard-paste porcelain; height: 3.2 cm; diameter: 16.2 cm; Metropolitan Museum of Art
  • Sugar bowl with cover, part of a breakfast service (déjeuner); 1813; hard-paste porcelain; height: 21 cm; Metropolitan Museum of Art
    Sugar bowl with cover, part of a breakfast service (déjeuner); 1813; hard-paste porcelain; height: 21 cm; Metropolitan Museum of Art
  • Milk jug (pot à lait Étrusque), part of a breakfast service (déjeuner); 1813; hard-paste porcelain; height (with handle): 21.3 cm; Metropolitan Museum of Art
    Milk jug (pot à lait Étrusque), part of a breakfast service (déjeuner); 1813; hard-paste porcelain; height (with handle): 21.3 cm; Metropolitan Museum of Art
  • Tray (plateau), part of a breakfast service (déjeuner); 1813; hard-paste porcelain; 2.5 x 37.5 x 33.3 cm; Metropolitan Museum of Art
    Tray (plateau), part of a breakfast service (déjeuner); 1813; hard-paste porcelain; 2.5 x 37.5 x 33.3 cm; Metropolitan Museum of Art
  • Cup (tasse Jasmin), part of a breakfast service (déjeuner); 1813; hard-paste porcelain and silver gilt; height: 11.3 cm; Metropolitan Museum of Art
    Cup (tasse Jasmin), part of a breakfast service (déjeuner); 1813; hard-paste porcelain and silver gilt; height: 11.3 cm; Metropolitan Museum of Art

Fashion

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Further information:Empire silhouette and1795–1820 in Western fashion

See also

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References

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  1. ^Gontar, Cybele (1 October 2004)."Empire Style, 1800–1815".metmuseum.org. Department of European Sculpture and Decorative Arts, The Metropolitan Museum of Art. Retrieved18 September 2022.Courts across Europe adopted the Empire style, especially in Russia, where it became a staple. In Germany and Austria, it coexisted with the gentlerBiedermeier associated with modest domestic interiors.Charles Percier (1764–1838) andPierre-François-Léonard Fontaine (1762–1853) were the two most influential figures in the field of Empire decoration and furnishing. Official architects to the court of Napoleon, their main responsibility was the renovation of the various royal residences. Their Recueil de décorations intérieures (1812) was an essential handbook of the Empire style.
  2. ^(Honour 1977, p. 171)
  3. ^"Consulate style".The Free Dictionary. Retrieved29 April 2024.
  4. ^Honour 1977, p. 172
  5. ^Fredlund, Jane (2008).Stilguiden: möbler & inredning 1700–2000 (in Swedish) (2nd ed.). Stockholm: Prisma. p. 108.ISBN 9789151849874.OCLC 234047178.
  6. ^Sylvie, Chadenet (2001).French Furniture • From Louis XIII to Art Deco. Little, Brown and Company. p. 103 & 105.
  7. ^Ecaterina Oproiu, Tatiana Corvin (1975).Enciclopedia căminului (in Romanian). Editura științifică și enciclopedică. p. 44 & 45.
  8. ^Jones 2014, p. 275.
  9. ^abcHopkins 2014, p. 111.
  10. ^Hopkins 2014, p. 112.
  11. ^"Fauteuil du trône de Napoléon Ier aux Tuileries".collections.louvre.fr. Retrieved23 May 2022.
  12. ^"Commode à deux vantaux".collections.louvre.fr. Retrieved23 May 2022.
  13. ^Odile, Nouvel-Kammerer (2007).Symbols of Power • Napoleon and the Art of the Empire Style • 1800-1815. Abrams. p. 154.ISBN 978-0-8109-9345-7.
  14. ^"Serre-bijoux de l'Impératrice Joséphine, dit Grand écrin".collections.louvre.fr. Retrieved23 May 2022.
  15. ^"Deux chaises".collections.louvre.fr. Retrieved23 May 2022.
  16. ^Odile, Nouvel-Kammerer (2007).Symbols of Power • Napoleon and the Art of the Empire Style • 1800-1815. Abrams. p. 32.ISBN 978-0-8109-9345-7.
  17. ^Muriel Barbier."Egyptian vase and pedestal".louvre.fr. Retrieved12 March 2021.
  18. ^Odile, Nouvel-Kammerer (2007).Symbols of Power • Napoleon and the Art of the Empire Style • 1800-1815. Abrams. p. 177.ISBN 978-0-8109-9345-7.
  19. ^"MANTEL CLOCK "LA LISEUSE"".www.kollerauktionen.ch.

External links

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Media related toEmpire style at Wikimedia Commons

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