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#1 23-01-2015 02:02:49

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Date d'inscription: 23-01-2015
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The Netherlands: 17th century A low, square, upholstered style of chair is seen in engravings of the inside of wealthy Dutch homes by Abraham Bosse, a French artist, as well as in paintings by the Dutch artists Johannes Vermeer and Gerard Terborch. While this type of chair is also found in countries where Dutch styles of interior decoration and Dutch furniture won acclaim, it is not determined that the form actually originated in The Netherlands. Usually, the legs of the chair will be smooth, round in section, and of thin measurements; they are sometimes baluster-shaped (vase-shaped) or twisted. It is obviously a bourgeois piece of furniture and was made in considerable amounts, as can be seen from one of Abraham Bosse's engravings, in which an entire row of such chairs lined up by a wall. The design asserts itself with its elegant proportions and delicate upholstery in gilt leather or fabric framed with fringes.
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France and England: 17th and 18th centuries The French Rococo chair in its most mature form-that was, to say, as developed in Paris around 1750-spread through most of Europe and was imitated or copied during the mid-20th century. The model owes the popularity to a combination of relaxation and elegance. The seat adheres to the human body and permits a relaxed sitting position. The back is bow-shaped, the legs curved. Generally the seat and back are upholstered, and there are small upholstered pads over the armrests. Smooth transitions are made between seat frame, legs, and back conceal all the joints, which are constructed on craftsmanlike methodology despite the absence of stretchers between the legs.
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French Rococo chairs and imitations of those are constructed from wood of relatively thick dimensions; but all the members are deeply molded, all extra wood has been taken away, and more upmarket chairs can be further embellished with special delicate and decorative engraving. The wood can be varnished, stained, painted, or gilded. Silk damask or tapestry may be used for all the upholstery on the seat, back, and armrests; cane is occasionally used as an alternative to upholstery.
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English chairs of the 18th century were more differentiated in form than the French. The French taste for stylistic uniformity, which lead from the highest circles in Paris and Versailles within most of France and became the favourite in several parts of the Continent, had no parallel in England. Prior to 1740, the most commonly used wood was walnut; thereafter, and for the rest of the century, it was mahogany. Walnut, though beautiful in hue, was soft and therefore less suited to wood carving than to rounded, curving forms. Outer surfaces, such as the back and seat frame, were usually veneered. During the walnut period, highly overstuffed armchairs, covered with leather or embroidered material, were also developed. The best upholstery of this period is precisely and firmly modelled and accentuated by braiding or tacks. When imports of mahogany became common, no specifically new chair designs appeared, but the character of the woodwork changed. Mahogany, having a firmer, closer grain, could be cut thinner, which meant that individual parts of the chair could be more slender in shape. Mahogany also lent itself better to carving than walnut. Carving was concentrated more on the arms and back than on the legs, which as a rule were straight and smooth with chamfered (bevelled) edges and molding. There was a wealth of variety in chairback designs, featuring elegant, pierced, vase-shaped splats or two upright posts connected by horizontal slats (ladderback).

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