 Der Sonntagsspaziergang painting byCarl Spitzweg, a typical representation of theBiedermeier period (1841) | |
| Years active | 1815–1848 |
|---|---|
| Location | Central Europe |
| Influences | Empire style |
| Influenced | Świdermajer |
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TheBiedermeier period was an era inCentral European art and culture between 1815 and 1848 during which themiddle classes grew in number and artists began producing works appealing to their sensibilities. The period began with the end of theNapoleonic Wars in 1815 and ended with the onset of theRevolutions of 1848. The term originated in popular literature, before spreading toarchitecture,interior design, andvisual arts.
"Biedermeier" derives from the fictional mediocre poet Gottlieb Biedermaier [sic], who featured in the Munich magazineFliegende Blätter (Flying Leaves).[1] It is used mostly to denote the unchallenging artistic styles that flourished in the fields of literature, music, the visual arts and interior design. As is natural in cultural creative movements,Biedermeier has influenced later styles.
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TheBiedermeier period does not refer to the era as a whole, but to a particular mood and set of trends that grew out of the unique underpinnings of the time in Central Europe. There were two driving forces for the development of the period. One was the growing urbanization and industrialization leading to a new urban middle class, which created a new kind of audience for the arts. The other was the political stability prevalent underKlemens von Metternich following the end of theNapoleonic Wars[2] and theCongress of Vienna.[citation needed]
The effect was for artists and society in general to concentrate on the domestic and, at least in public, the non-political. Writers, painters, and musicians began to stay in safer territory, and the emphasis on home life for the growing middle class meant a blossoming of furniture design and interior decorating.[3]
The affluentmiddle class values that are associated withBiedermeier include affection, sensibility, moderation, and modesty.BiedermeierGemütlichkeit means, that one reaches a state of cosiness, as well as friendliness.
Biedermeierfamily values reflected thebourgeois consensus and thehousewife was responsible for furnishing and choosing the appropriatedesign. Middle class women were held responsible for family cohesion and children had to be socialized within the family.[4]
The termBiedermeier appeared first in literary circles in the form of a pseudonym, Gottlieb Biedermaier, used by the country doctorAdolf Kussmaul and lawyerLudwig Eichrodt in poems that the duo had published in theMunich satirical weeklyFliegende Blätter in 1850.[5] The German wordbieder translates intoplain, whileMaier is a commonbourgeois surname.
The verses parodied the people of the era, namely Samuel Friedrich Sauter, a primary teacher and sort of amateurish poet, as depoliticized andpetit-bourgeois.[6] The name was constructed from the titles of two poems—"Biedermanns Abendgemütlichkeit" (Biedermann's Evening Comfort) and "Bummelmaiers Klage" (Bummelmaier's Complaint)—whichJoseph Victor von Scheffel had published in 1848 in the same magazine.[citation needed]
As a label for the epoch, the term has been used since around 1900.[citation needed]
Due to the strict control of publication and officialcensorship,Biedermeier writers primarily concerned themselves with non-political subjects, like historical fiction and country life. Political discussion was usually confined to the home, in the presence of close friends.[citation needed]
TypicalBiedermeier poets areAnnette von Droste-Hülshoff,Friedrich Halm,Adelbert von Chamisso,Eduard Mörike, andWilhelm Müller, the last three of whom have well-known musical settings byRobert Schumann,Hugo Wolf andFranz Schubert respectively.Adalbert Stifter was a novelist and short story writer whose work also reflected the concerns of the Biedermeier movement, particularly with his novelDer Nachsommer. As historianCarl Emil Schorske put it, "To illustrate and propagate his concept of Bildung, compounded of Benedictine world piety, German humanism, and Biedermeier conventionality, Stifter gave to the world his novel Der Nachsommer".[7]
Jeremias Gotthelf publishedThe Black Spider in 1842 as an allegorical work that uses Gothic themes. It is Gotthelf's best known work. At first little noticed, the story is now considered by many critics to be among the masterworks ofBiedermeier era and sensibility.[citation needed]
Biedermeier furniture is admired for quality craftsmanship and comfort. Original early 19th centuryBiedermeier furniture was manufactured to be publicly displayed, with less concern for convenience and private enjoyment.Biedermeierupholstery makes extensive use of coil-springs.Biedermeier furniture design was purchased or commissioned by the prosperousmiddle class to celebrate comfort and leisure.[8]
Middle to late-Biedermeier furniture design represented a heralding towards historicism and revival eras long sought for. Social forces originating in France would change the artisan-patron system that achieved this period of design, first in the German states, and then into Scandinavia. The middle class growth originated in theIndustrial Revolution in Britain and manyBiedermeier designs owe their simplicity to Georgian lines of the 19th century, as the proliferation of design publications reached the German states and theAustrian Empire.[9]
TheBiedermeier style was a simplified interpretation of the influential FrenchEmpire style ofNapoleon, which introduced the romance of ancientRoman Empire styles, adapting these to modern early 19th century households.Biedermeier furniture used locally available materials such as cherry, ash, and oak woods rather than the expensive timbers such as fully imported mahogany.
Unique designs were created inVienna. Furniture from the earlier period (1815–1830) was the most severe and neoclassical in inspiration. It also supplied the most fantastic forms which the second half of the period (1830–1848) lacked, being influenced by the many style publications from Britain.Biedermeier furniture was the first style in the world that emanated from the growing middle class. It preceded Victoriana and influenced mainly German-speaking countries.
In Sweden,Jean-Baptiste Bernadotte, who was adopted by KingCharles XIII (who was childless), became Sweden's new king in 1818 as Karl XIV Johan. The Swedish Karl Johan style, similar toBiedermeier, retained its elegant and blatantly Napoleonic style throughout the 19th century.
Biedermeier furniture and lifestyle was a focus on exhibitions at the Vienna applied arts museum in 1896. The many visitors to this exhibition were so influenced by this fantasy style and its elegance that a new resurgence or revival period became popular amongst European cabinetmakers. This revival period lasted up until the Art Deco style was taken up.Biedermeier also influenced the variousBauhaus styles through their truth in material philosophy.
The originalBiedermeier period changed with the political unrests of 1845–1848 (its end date). With the revolutions in Europeanhistoricism, furniture of the later years of the period took on a distinctWilhelminian orVictorian style.
The termBiedermeier is also used to refer to a style of clocks made in Vienna in the early 19th century. The clean and simple lines included a light and airy aesthetic, especially in Viennese regulators of theLaterndluhr andDachluhr styles.
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The 19th century population growth and urbanization in Europe resulted inBiedermeier architecture marked by functionality and elegance.[10]
TheGeymüllerschlössel in Vienna was constructed in 1808, it houses today theBiedermeier collection of the Museum of Applied Arts.[citation needed]
InWilhelmine Germany social reformers regardedBiedermeier architecture as the perfect example formiddle class culture and domestic reform.[11]
During theWeimar Republic Germany faced another housing crisis.Paul Schultze-Naumburg was among Germany's most respected neo-Biedermeier architects and in his mind, new housing should imitate the GermanBiedermeier architecture of around 1800.Paul Mebes popularized the neo-Biedermeier style, which was widely endorsed by German architects. A modernist neo-Biedermeier architectural style was contrived byAdolf Behne,Bruno Taut, andPeter Behrens.[12] Schultz-Naumburg andHeinrich Tessenow advocated for interpreting Biedermeier architecture liberally, allowing for little modernization.[13]
The Polish architectural styleŚwidermajer was named as a play onBiedermeier.[citation needed]
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In the visual arts,Biedermeier style is associated with sentimentality and dullness.Biedermeier paintings are known for their preoccupation with the everyday world with few grand gestures.[14]
This formed an aesthetic is evidenced in the portraits (e.g.,Portrait of the Arthaber Family, 1837, by Friedrich von Amerling), landscapes (e.g. see Waldmüller or Gauermann landscapes) and contemporary-reportinggenre scenes (e.g.,Controversy of the Coachmen, 1828, by Michael Neder). Reflecting the moderately conservative and generallyapolitical ethos of the movement and its audience, Biedermeier painting actively shunned the radical commentary used in other circles, though later works likeThe Bookworm (c. 1850) left space for some lighthearted satire.[15]
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Key painters of theBiedermeier movement wereCarl Spitzweg (1808–1885),Ferdinand Georg Waldmüller (1795–1865),Henrik Weber (1818–1866),Josip Tominc (1780–1866),Friedrich von Amerling (1803–1887),Friedrich Gauermann (1807–1862),Johann Baptist Reiter (1813–1890),Peter Fendi (1796–1842),Michael Neder [de] (1807–1882),Josef Danhauser (1805–1845), andEdmund Wodick (1806–1886) among others.[citation needed]
The biggest collection of VienneseBiedermeier paintings in the world is currently hosted by theBelvedere Palace Museum in Vienna.[citation needed]
Biedermeier music was most evident in the numerous publications for in-home music making. Published arrangements of operatic excerpts, GermanLieder, and some symphonic works that could be performed at the piano without professional musical training, illustrated the broadened reach of music in this period. Composers from this period includeBeethoven,Schubert,Rossini,Weber,Mendelssohn,Chopin,Schumann andLiszt.
The so calledSchubertiad were people who gathered around the composerFranz Schubert to provide a forum or meeting place for political secret societies. However,Biedermeier home music making was decidedly unpretentious and nonpolitical, the backdrop being politically explosive. Even the critical discussion of music itself was avoided.[16]
TheBiedermeier period coincided with the Czech National Revival movement in theCzech-speaking areas. The most famous writers of the period wereBožena Němcová,Karel Hynek Mácha,František Ladislav Čelakovský,Václav Kliment Klicpera, andJosef Kajetán Tyl. Key painters of the CzechBiedermeier wereJosef Navrátil,Antonín Machek, andAntonín Mánes. Landscapes, still lifes, courtyards, family scenes, and portraits were very popular.Václav Tomášek composed lyric piano pieces and songs to the patriotic lyrics of Czech authors.Biedermeier was also reflected in the applied arts: glass and porcelain, fashion, jewellery, and furniture.
Media related toBiedermeier at Wikimedia Commons
