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Pair of Louis XVI Style Beechwood Bergeres Chairs
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$8,500. for the Pair of Bergeres Chairs
item #586124
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Antique Pair of Louis XVI Style of Beechwood Bergeres, newly upholstered and tuffed. H:40" W:26.5" D:20.5"
Eighteenth century French chair form, first made in the Louis XV style, circa 1725. By the late 18th century, the style spread to other European countries. Closed arms, a wide seat and concave back with a straight or cabriole leg define the bergere style. Usually large in size and upholstered with a loose cushion and low back that glides down and forward to form the arms.
Louis XVI style, also spelled Louis Seize, refers to the visual arts produced in France during the reign (1774–93) of Louis XVI, which was actually both a last phase of Rococo and a first phase of Neoclassicism. The predominant style in architecture, painting, sculpture, and the decorative arts was Neoclassicism, a style that had come into its own during the last years of Louis XV's life, chiefly as a reaction to the excesses of the Rococo but partly through the popularity of the excavations at ancient Herculaneum and Pompeii, in Italy, and partly on the basis of Jean-Jacques Rousseau's call for “natural” virtue and honest sentiment. One of the most dramatic episodes in the stylistic oscillation from Rococo to Neoclassicism was played out in 1770 at Mme du Barry's Pavillon de Louveciennes. A series of large painted canvases by the Rococo painter Jean-Honoré Fragonard depicting the “Progress of Love” were removed almost as soon as they were installed and replaced with a series commissioned from Joseph-Marie Vien, a Neoclassicist. Vien's pupil Jacques-Louis David was the most important painter of the reign of Louis XVI; his severe compositions recalling the style of the earlier painter Nicolas Poussin are documents extolling republican virtues. During the Revolution, David was a deputy and voted for the execution of the King. The foremost sculptor of the reign of Louis XVI was Jean-Antoine Houdon (1741–1828). He portrayed a number of the most prominent men of his day, often in classical togas. His nude “Diana,” of which there are several versions, attempts to evoke the feeling of the Classical Greek nude. The lavish court style of Louis and Marie Antoinette, his young queen, gave impetus to the highly skilled ébénistes, or cabinetmakers, of the period. Whereas the general style of furniture was again Neoclassic (i.e., straight, simple lines and classical motifs), the workmanship was as complicated and as finely performed as in any period to date. Jean-Henri Riesener and Bernard van Risenburgh were two of the foremost cabinetmakers, filling commissions for Mme du Barry as well as for the Queen. Many of the ébénistes, including Riesener, were German craftsmen who, nevertheless, contributed to the tradition of French furniture. Other makers of luxury items benefited from the excesses of the court, chief among them the porcelain manufactory at Sèvres. The historical backgroud of this early period derives from Louis X1V, known as the Sun King, he reigned in France between 1643 and 1715. Influenced the Baroque style in furniture during the earlier part of the reign which later developed into the Regence style. Mahogany and Oak were widley used. Baroque was large, masculine, and symmetrical. Regence was characterized by its use of curves and introduction of Chinoiserie. Ornamentation was usually done with rocks, shells and flowers. Louis XV reigned in France between 1715 and 1774. the style of furniture was essentially Rococo with soft , flowing lines, shell and flower ornamentation, rich upholstery, inlaying and painted furniture. The Louis XV1 reigned in France between 1774 and 1793. Characteristics of this style were rectangular lines, architectural ornamentation, classic symmetry, marquetry, and the predonimant use of mahogany. The pair of Beechwood are elegant and rich in the color fabric and quite comfortable.
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