Empire style

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Place de l'Étoile, one of the most famous examples of Empire architecture, commissioned in 1806 after the victory at Austerlitz by Emperor Napoleon I

The Empire style (French pronunciation: [ɑ̃.piːʁ], style Empire) is an early-nineteenth-century design movement in architecture, furniture, other decorative arts, and the visual arts, representing the second phase of Neoclassicism. It flourished between 1800 and 1815 during the Consulate and the First 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 Emperor

Regency style
in Britain.

History

Directoire style of the immediately preceding period, which aimed at a simpler, but still elegant evocation of the virtues of the

Lycurgus. The festivals of the Revolution were staged by David as antique rituals. Even the chairs in which the committee of Salut Publique sat were made on antique models devised by David. ...In fact Neo-classicism became fashionable.[2]

The Empire style "turned to the florid opulence of Imperial Rome. The abstemious severity of Doric was replaced by Corinthian richness and splendour".[3]

Two French architects,

Pierre Fontaine, were together the creators of the French Empire style. The two had studied in Rome and in the 1790s became leading furniture designers in Paris, where they received many commissions from Napoleon and other statesmen.[4]

Architecture of the Empire style was based on elements of the

Federal style (such as design of the United States Capitol building), and both were forms of propaganda 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 his Napoleonic Code
.

The Empire period was popularized by the inventive designs of

colonies. Biedermeier furniture also used ebony 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 King

chandeliers
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 the unification of Italy in 1870.

late-Federal style
.

Motifs and ornaments

All Empire ornament is governed by a rigorous spirit of symmetry reminiscent of the

rinceaux, rosettes, palm branches, and laurel. There's a lot of Greco-Roman ones: stiff and flat acanthus leaves, palmettes, cornucopias, beads, amphoras, tripods, imbricated disks, caduceuses of Mercury, vases, helmets, burning torches, winged trumpet players, and ancient musical instruments (tubas, rattles and especially lyres). Despite their antique derivation, the fluting and triglyphs so prevalent under Louis XVI are abandoned. Egyptian Revival motifs are especially common at the beginning of the period: scarabs, lotus capitals, winged disks, obelisks, pyramids, figures wearing nemeses, caryatids en gaine supported by bare feet and with women Egyptian headdresses.[5]

Architecture

The most famous Empire-style structures in France are the grand neoclassical

Narva Triumphal Gate. Stalinist architecture is sometimes referred to as Stalin's Empire style. The Royal Palace of Amsterdam
houses a complete collection of Empire furniture from the time of Louis Napoleon, the largest collection outside of France.

Interiors have spacious rooms, richly decorated with symmetrically arranged motifs. The walls are decorated with Corinthian pilasters and vertical panels, having at the top a decorative frieze. The panels are covered with monumental paintings, stuccos, or with embroidered silks. The ceilings have light colours and fine ornaments.[6]

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

Furniture

  • Washstand (athénienne or lavabo); 1800–1814; legs, base and shelf of yew wood, gilt-bronze mounts, iron plate beneath shelf; height: 92.4 cm, width: 49.5 cm; Metropolitan Museum of Art (New York City)
    Washstand (athénienne or lavabo); 1800–1814; legs, base and shelf of yew wood, gilt-bronze mounts, iron plate beneath shelf; height: 92.4 cm, width: 49.5 cm; Metropolitan Museum of Art (New York City)
  • Secretary; c.1804-1809; amboyna wood veneered on pine, with gilt-bronze mounts; 173.4 x 87.6 x 37.8 cm; Metropolitan Museum of Art
    Secretary; c.1804-1809; amboyna wood veneered on pine, with gilt-bronze mounts; 173.4 x 87.6 x 37.8 cm; Metropolitan Museum of Art
  • Throne of Napoleon I; by Georges Jacob and François-Honoré-Georges Jacob-Desmalter; 1804; embroidered velvet, gilt wood and ivory; height: 1.2 m; Louvre[10]
    Throne of Napoleon I; by Georges Jacob and François-Honoré-Georges Jacob-Desmalter; 1804; embroidered velvet, gilt wood and ivory; height: 1.2 m; Louvre[10]
  • Commode with two door panels; before 1805; mahogany with bronze mounts; 1.165 x 1.794 x 0.83 m; Louvre[11]
    Commode with two door panels; before 1805; mahogany with bronze mounts; 1.165 x 1.794 x 0.83 m; Louvre[11]
  • Throne; by Bernard Poyet and François-Honoré-Georges Jacob-Desmalter; 1805; carved and gilded wood, covered in red velvet with silver embroidery; 160 x 110 x 82 cm; Musée des Arts Décoratifs (Paris)[12]
    Throne; by
    Musée des Arts Décoratifs (Paris)[12]
  • Desk chair; c.1805–1808; mahogany, gilt bronze and satin-velvet upholstery; 87.6 × 59.7 × 64.8 cm; Metropolitan Museum of Art
    Desk chair; c.1805–1808; mahogany, gilt bronze and satin-velvet upholstery; 87.6 × 59.7 × 64.8 cm; Metropolitan Museum of Art
  • Jewelry holder of the Empress Josephine; by François-Honoré-Georges Jacob-Desmalter; 1809; mahogany, amaranth, ebony, taxus, mother-of-pearl, and gilt bronze mounts; 2.76 x 2 x 0.6 m; Louvre[13]
    Jewelry holder of the
    Empress Josephine; by François-Honoré-Georges Jacob-Desmalter; 1809; mahogany, amaranth, ebony, taxus, mother-of-pearl, and gilt bronze mounts; 2.76 x 2 x 0.6 m; Louvre[13]
  • Egyptian Revival coin cabinet; by François-Honoré-Georges Jacob-Desmalter; 1809–1819; mahogany (probably Swietenia mahagoni), with applied and inlaid silver; 90.2 x 50.2 x 37.5 cm; Metropolitan Museum of Art
    Egyptian Revival coin cabinet; by François-Honoré-Georges Jacob-Desmalter; 1809–1819; mahogany (probably Swietenia mahagoni), with applied and inlaid silver; 90.2 x 50.2 x 37.5 cm; Metropolitan Museum of Art
  • Chair; before 1810; white trimmed wood with gilt carved decoration, modern trim, red and white silk; 90 x 50.5 x 44 cm; Louvre[14]
    Chair; before 1810; white trimmed wood with gilt carved decoration, modern trim, red and white silk; 90 x 50.5 x 44 cm; Louvre[14]
  • King of Rome's Cradle (Empire); by Pierre-Paul Prud'hon, Henri-Victor Roguier [fr], Jean-Baptiste-Claude Odiot and Pierre-Philippe Thomire; 1811; wood, silver gilt, mother-of-pearl, sheets of copper covered with velvet, silk and tulle, decorated with silver and gold thread; height: 216 cm; Kunsthistorisches Museum (Vienna, Austria)[15]
    King of Rome's Cradle (Empire); by
    mother-of-pearl, sheets of copper covered with velvet, silk and tulle, decorated with silver and gold thread; height: 216 cm; Kunsthistorisches Museum (Vienna, Austria)[15]

Clocks and candelabrums

Main article: French Empire mantel clock

Ceramic

  • 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

Further information: Empire silhouette and 1795–1820 in Western fashion

See also

References

  1. ^ Gontar, Cybele (1 October 2004). "Empire Style, 1800–1815". metmuseum.org. Department of European Sculpture and Decorative Arts, The Metropolitan Museum of Art. Retrieved 18 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 gentler Biedermeier associated with modest domestic interiors. Charles Percier (1764–1838) and Pierre 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. ^ Honour 1977, p. 172
  4. OCLC 234047178
    .
  5. ^ Sylvie, Chadenet (2001). French Furniture • From Louis XIII to Art Deco. Little, Brown and Company. p. 103 & 105.
  6. ^ Ecaterina Oproiu, Tatiana Corvin (1975). Enciclopedia căminului (in Romanian). Editura științifică și enciclopedică. p. 44 & 45.
  7. ^ Jones 2014, p. 275.
  8. ^ a b c Hopkins 2014, p. 111.
  9. ^ Hopkins 2014, p. 112.
  10. ^ "Fauteuil du trône de Napoléon Ier aux Tuileries". collections.louvre.fr. Retrieved 23 May 2022.
  11. ^ "Commode à deux vantaux". collections.louvre.fr. Retrieved 23 May 2022.
  12. ISBN 978-0-8109-9345-7
    .
  13. ^ "Serre-bijoux de l'Impératrice Joséphine, dit Grand écrin". collections.louvre.fr. Retrieved 23 May 2022.
  14. ^ "Deux chaises". collections.louvre.fr. Retrieved 23 May 2022.
  15. ISBN 978-0-8109-9345-7
    .
  16. ^ Muriel Barbier. "Egyptian vase and pedestal". louvre.fr. Retrieved 12 March 2021.
  17. ISBN 978-0-8109-9345-7
    .
  18. ^ "MANTEL CLOCK "LA LISEUSE"". www.kollerauktionen.ch.

External links

Media related to Empire style at Wikimedia Commons

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