Baroque in the Decorative Arts and Furniture

Exoticism was very popular in the decorative arts. Links to the Far East and Asia had already been created in the early sixteenth century and they were strenghted during the following century when items started being made specifically for export to Europe. (Munger & Cooney Frelinghuysen 2003) In pottery, the Chinese influenced blue and white design (ex.23) was the main trend until the end of the seventeenth century when the popularity of porcelain decorated with coats of arms (ex.24) prompted the use of polychrome. (Munger & Cooney Frelinghuysen 2003) European centres of pottery were situated in Nevers, Rouen and Delft. (Victoria and Albert Museum 2013b)

                               (Example 23 ‘Dish [Chinese for the European Market’)

                                      (The Metropolitan Museum of Art 2006b)

                                                     (Example 24 ‘Plate’)

                                       (The Metropolitan Museum of Art 2006c)

Silver objects were of high value in France, England as well as in the Netherlands. In the case of France and the Netherlands they were made in the baroque (ex.25;ex.26) style rather than in the classical which dominated in architecture (and painting in France). (Bazin 1964: 102)

                                     (Example 25 ‘Silver dish’ Paulus van Vianen)

                                                       (Bazin 1964:103)

  

                                        (Example 26 Fork and Spoon 1683-84)

                                       (The Metropolitan Museum of Art 2006d)

As the value of silver lay in the metal rather than the craftsmanship silver often reflected the latest style – objects which were thought to be out of date were often melted and transformed into something more fashionable’. (Munger 2003)

A taste for exoticism also reigned in furniture. Exotic wood such as ebony was used widely and its popularity was clearly expressed in France where cabinet makers were called – ebenistes. (Benett Oates 1981: 84)

Marquetry, a technique which spread to England and France from the Dutch, was very popular in Baroque furniture. In its traditional form it involves cutting out irregular pieces of wood in different colours (often even ivory or mother of pearl) and fitting them together like a jig-saw puzzle to build up a pictorial design (Bennett Oates 1981:85) In France the technique was employed by Andre Charles Boulle to create a distinctly French type of furniture decorated with brass and tortoiseshell marquetry (ex.27). This type of furniture also made use of  ‘elaborate gilt bronze mounts’ which in addition to adding aesthetic value aided with keeping the materials fixed to the carcase. (Bennett Oates 1981: 91)

                                      (Example 27 Cabinet by Andre Charles Boulle)

                                                      (Lucie-Smith 1979:76)

Even though in England the baroque style of furniture was slow to catch on due to the shortage of money and Puritan ‘dislike of ostentation’ during Cromwell’s Protectorate, the richness of baroque style was eagerly adopted after the restoration. (Bennett Oates 1981: 94-97) The exuberance of the baroque is fully expressed in the chair and bed designs of Daniel Marot (ex.28;ex.29) (Bennett Oates 1981: 94)

                                           (Example 28 ‘Bed by Daniel Marot’)

         

                                                    (Bennett Oates 1981: 96)

                                             (Example 29 ‘Chair by Daniel Marot’)

                  

                                                     (Bennett-Oates 1981:96)

In Italian furniture design, which was dominant, during the most part of the seventeenth century, elaborately carved chairs (ex.30) and extravagant beds characterise the style in addition to marble console tables and mirrors which were true prestige pieces.  (Bennett Oates 1981:79)

                                (Example 30 ‘Sculptured armchair by Andrea Brustolon’)

                                                  (Lucie-Smith 1979: 89)