Sebastien Erard,
Harp,
Japaned and gilded
beech and pine;
h.170.3cm
Domestic and Industrial Design
Joseph Marie Jacquard
Loom
programmable loom
Punch cards
1801 Paris Industrial Products Fair
The Paris Exhibition: The Prince of Wales' Indian Collection in 1878
Napoleon
Patron of the textile arts and design
Chateau de Saint-Cloud, near Paris
Hippolyte Le Bas, designe
Doves and Wild Boar,
1816-18
Toile de Jouy,
cotton
Jean Démosthène Dugourc,
Textile woven in Lyons at the factory
of Camille Pernon,
Silk brocade on blue ground;
Each panel h.54cm/24”
Intended for Empress Josephine’s apartments
at Saint-Cloud
François Gérard,
Empress Josephine,
early 19th century;
Oil on canvas;
80x64.5cm/ 31 x 25”
Malmaison
Chateau for the Emperor Napoleon
and the Empress Josephine, 1799-1803
Charles Percier and P F L Fontaine
Malmaison
Chateau for the Emperor Napoleon and the Empress Josephine, 1799-1803
Charles Percier and P F L Fontaine,
Plate from Recueil de décorations intérieures,
Engraving; 12.7x17.2cm
Influence of John Flaxman
John Flaxman
Departure of Briseis from the Tent of Achilles, from the Iliad,
Engraving
18.2x31.5cm
Electra and Chorus of Trojan Women
Bringing Oblations,
from Aeschylus’s Choephorae,
Engraving;
19.5x28.1cm
Friedrich Rehberg
Plate from Drawings Faithfully Copied from Nature,
showing one of Emma Hamilton’s ‘attitudes’
1794
Engraving
26.9x20.8cm
“to spread the principles of taste that we have derived from antiquity”
Principles: are bound “to those general rules of the true, the simple, the beautiful,
which ought to govern forever all productions of the kingdom of imitation” and
should spread from architecture to “the least works of the industrial arts.”
“ Who cannot distinguish the direction of spirit and taste in each period by the
details of domestic utensils, the objects of luxury or necessity to which the worker
involuntarily gves the imprint of the shapes, outlines and patterns in use in his day?”
Charles Percier and P F L Fontaine,
Recueil de décorations intérieures
France’s particular contribution
To the “spirit and taste” of the Neoclassic period
Wall paper
Jean-Baptiste Rèveillon
Wallpaper panel depicting an allegory of Autumn,
Block-printed panel
Paris, 1785
After 1804 “panoramas”
Jean Zuber
Joseph Dufour
Jean Zuber (painter Mongin)
Arcadia,
1811
7 tones og grey wallpaper,
Greek arcadia and Gessner’s Idylls (virtue,
love, childhood innocence)
Tomb of Mikon
Joseph Dufour
Scene One, original Dufour: 7 ft 6 in wide x 6 ft 2 in high, 46.25 sq. ft.
Scene Three, original Dufour: 7 ft 3 in wide x 6 ft 2 in h, 44.7 sq. ft.
Also called View of the Port of Rhodes
Ministry of Trade committee
Prussia, 1819
Peter Christian Wilhelm Beuth, ditector
Karl Friedrich Schinkel, member
Beuth and Shinckel, Vorbilder für Fabrikanten und Handwerker (Examples for
Manufacturers and Craftsmen), 1830 and 1837
Schinkel: “principles originating from the days of antiquity”
Going on to include Renaissance and Islamic art - ecleticism
Karl Friedrich Schinkel
Detail of carpet design from Vorbilder,
Coloured lithograph
Prussian ironworks, Cast-iron technique
Karl Friedrich Schinkel
Chair, garden h.80cm
Norwegian stove surmounted by Vestal Virgin,
h.225cm, 88”
Franz Ludwig Catel,
Schinkel in Naples
1824
Oil on canvas;
62x49cm
'The Magic Flute', 1816.
Stage design by Karl Freidrich Schinkel
Vienna (Austria)
Habsburg rule
Before the 1848 revolution
Unique contribution to the Neoclassical style
The Age of Shubert
The middle classes
The Biedermeier style
admired in the Art Nouveau and early Modern Art movements
Joseph Ulrich Danhauser
Combination of plainness and imaginativeness
Individual, stark, idiosyncratic style
Merlin’s Gouty Chair
Plate in Ackermann’s Repository
Coloured aquatint
Diana and Callisto
Austrian glass beaker
cut and engraved by F Gottstein
h.13.3cm
J C Loudon,
Plate from Encyclopaedia of Gardening,
design for a swing
Wood engraving
2.8x1.9cm
Viennese writing desk,
95x124x79.5cm
Into the 19th cent.
Larger shops, pictorial advertisements, gas-lighting
reflected Neoclassical taste
English advertisement
for Hubert’s Reseate Powder,
1809
Wood engraving;
20.9x14cm
French advertisement for Violet and Guenot’s Soap,
1827, Engraving
Plate from Frederick Accum’s A Practical Treatise on Gas-Light
showing a variety of light fittings
1815
Coloured aquatint
15.4x24.4cm
James Oatley,
Longcase clock,
Cedar and pine;
h.259cm
Thomas Hope
Chair,
Mahogany painted black
and gold with bronze
mounting;
h.121.9cm
Schinckel, ecleticism)
Duncan Phyfe (attr.)
Side chair
c. 1810-15
Mahogany;
h.84cm
Thomas Hope,
Household Furniture & Interior Decoration, London 1807
This publication introduced the term “interior decoration” for the first time in English language literature.
Author’s drawings stimulated the taste for academically inspired ornament in Greek, Roman, and Egyptian modes
Beauty consists not in ornament,' he wrote,
'it consists in outline…without a good outline,
the richest and most decorated object will only
appear tawdry.'
The Vase Room
The Statue Gallery
Thomas Sheraton. The cabinet maker and artist's encyclopaedia. London, 1805-06.
To the memory of Lord Nelson
Plate 9 of window draperies