Neoclassicism: Louis Xvi chairs & Maison Valentino Haute Couture
By Kanika Talwar
During the reign of King Louis XVI (1774–1793), the architecture and decorative arts style was referred to as Style Louis XVI or Louis Seize. The arts during this time saw the decline of the Baroque and Rococo period and instead gave way to the birth of Neoclassicism. During the reign of Louis XV, the Marquis de Marigny accompanied a legion of artists and scholars to explore Italy during a grand tour of the classical monuments. The group returned with a renewed vigorous interest in the arts returning to a more classical style based on the Roman and Greek monuments. In 1754, they published a manifesto rejecting the popular Rocaille and Rococo style in favor of returning to classicism. Marigny later became the director of buildings for Louis XVI, after the death of Louis XV.
The Neoclassicism era that took hold in France from 1760-1830 was inspired by the discoveries of the ancient Roman and Greek paintings, sculptures, and architecture in Pompeii and the Herculaneum. The architecture and style features included straight columns and architrave found in Greek temples. Neoclassicism also was heavily inspired by Rousseau's values of returning back to nature and viewing nature as the idealized model for the arts to follow. The ultimate desire was to establish a new Beau idéal, or ideal of beauty. Notable landmarks and architectural buildings in France during this time period include Arc de Triomphe, Petit Trianon, Hotel de la Marine, Grand Théâtre de Bordeaux, Odéon-Théâtre de l'Europe, Château de Bagatelle, Château de Bénouville, Panthéon, and Palais de la Légion d'Honneur.
From top left, across: Arc de Triomphe, Petit Trianon, Hôtel de la Marine, Grand Théâtre de Bordeaux, Odéon-Théâtre de l'Europe, Château de Bagatelle, Château de Bénouville, Panthéon, and Palais de la Légion d'Honneur.
Pierre Bernard is a furniture carpenter known for his exquisite execution in style, with perfectly balanced proportions and intricate hand-carved details. Bernard created furniture with the emerging classicism strong lines found during the Louis XVI reign. French diplomat and non-fiction furniture writer Count François de Salverte once described carpenter Bernard (master in 1766) as “L'un des plus habiles de sa spécialité” or “one of the most accomplished of his trade”. Bernard is noted as having a relationship with sculptor Charles Joigny on his most important projects.
The duo of Joigny and Bernard collaborated on this “Pair of Louis XVI Giltwood Fauteuils” (1768-70). Fauteuils are a style of open-armchairs with an exposed wooden frame; it dates back to France during the early 17th century. Fauteuils are typically made of wood and frequently contain carved relief ornaments, with upholstery on the seat bottom, back and arms. The Bernard and Joigny chairs are elaborately carved with each padded back, arms, and seats covered in woven velvet and silk tapestry, which have a floral motif in a variance of green shades.
The Neoclassical elements within the chair include the straighter and more powerful lines. Neoclassical artists heavily used sharp shades of colors and a contrasting of light and dark shading to give the illusion of depth. The signatures of 18th century Neoclassical furniture featured geometric shapes such as square, rectangular or oval backs, with straight or spiral fluted legs. The hardware and frames of the back and seat have molded patterns with a metallion or floral motif repeating. In comparison to the previous Rococo art period, the Louis XVI chairs' hardware is vastly less ornate and focuses on the symmetrical and nature-focused elements within the tapestry. Rococo focused significantly more on political and religious power through its opulence.
The duo of Joigny and Bernard collaborated on this “Pair of Louis XVI Giltwood Fauteuils” (1768-70). Fauteuils are a style of open-armchairs with an exposed wooden frame; it dates back to France during the early 17th century. Fauteuils are typically made of wood and frequently contain carved relief ornaments, with upholstery on the seat bottom, back and arms. The Bernard and Joigny chairs are elaborately carved with each padded back, arms, and seats covered in woven velvet and silk tapestry, which have a floral motif in a variance of green shades.
The Neoclassical elements within the chair include the straighter and more powerful lines. Neoclassical artists heavily used sharp shades of colors and a contrasting of light and dark shading to give the illusion of depth. The signatures of 18th century Neoclassical furniture featured geometric shapes such as square, rectangular or oval backs, with straight or spiral fluted legs. The hardware and frames of the back and seat have molded patterns with a metallion or floral motif repeating. In comparison to the previous Rococo art period, the Louis XVI chairs' hardware is vastly less ornate and focuses on the symmetrical and nature-focused elements within the tapestry. Rococo focused significantly more on political and religious power through its opulence.
Founded in 1960, Italian fashion designer Valentino Garavani’s fashion house, Maison Valentino, is famous all over the world for its acclaimed gowns and Haute Couture dresses created for actresses, political women, and society women worldwide. After studying at the École Des Beaux-Arts in Paris and apprenticing under master couturiers Balenciaga, Jean Dèsses, and Guy Laroche, Garavani returned to Rome to create his own brand with his business and life partner Giancarlo Giammetti. The “Valentino red” is one of the Maison's famous signatures, which came about after Garavani saw a woman wearing a fierce red velvet gown in Barcelona as a teenager. Garavani’s first collection debuted in 1962 with much acclaim and praise by the fashion press. His client list included Jacqueline Kennedy Onassis, Elizabeth Taylor, and Princess Margaret. Garavani has been honored with countless awards including the Chevalier de la Légion d'Honneur, Medal of the City of Paris, and Couture Council Award for Artistry of Fashion. The Valentino Museum in Rome was created to honor the famous designer and highlight his extraordinary years of service to fashion. After retiring in 2007, Garavani's work still has a major influence on fashion. Garavani and Giammetti regularly attend the Valentino shows held today.
Currently, Maison Valentino is under the helm of Italian creative director Pierpaolo Piccioli. Piccioli attended Milan's Istituto Europeo di Design and met Maria Grazia Chiuri through a friend. Chiuri and Piccioli worked together in the accessories department at Fendi in 1989, which lent itself to a twenty partnership the duo had. The two then moved to Valentino as accessory directors in 1999. Soon after Garavani’s retirement, Piccioli and Chiuri together served as Valentino’s co-creative directors for eight years. The duo helped modernize the brand’s Haute Couture and Ready to Wear lines. In 2016, Chiuri left Valentino for Dior and Piccioli stayed on at Valentino as the singular creative director.
The green velvet dress by Maison Valentino contains the similar Neoclassicism elements that make up the Louis XVI chair; its green colors, shade, and motif is an almost perfect match. The entire collection created by Chiuri and Piccioli for the Valentino Haute Couture 2016 Spring Summer was laced with elements of Greek and Roman Neoclassicism. This particular dress featured a Grecian plunging neckline with a floral motif repeated throughout in varying hues of green. The velvet brocade sits upon a sheer-lined bodice with the brocade cut out and reappliquéd. The model wears a snake headpiece that references the Greek myth of Medusa whose hair was made of snakes after she was cursed. The Haute Couture dress was applauded by the press as a stunning highlight of merging Neoclassicism, timelessness, and its rich art history references throughout the entire collection.
The green velvet dress by Maison Valentino contains the similar Neoclassicism elements that make up the Louis XVI chair; its green colors, shade, and motif is an almost perfect match. The entire collection created by Chiuri and Piccioli for the Valentino Haute Couture 2016 Spring Summer was laced with elements of Greek and Roman Neoclassicism. This particular dress featured a Grecian plunging neckline with a floral motif repeated throughout in varying hues of green. The velvet brocade sits upon a sheer-lined bodice with the brocade cut out and reappliquéd. The model wears a snake headpiece that references the Greek myth of Medusa whose hair was made of snakes after she was cursed. The Haute Couture dress was applauded by the press as a stunning highlight of merging Neoclassicism, timelessness, and its rich art history references throughout the entire collection.
References
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study/louis-xiv-xv-xvi-styles/.
Business of Fashion. (2019, August 4). Pierpaolo Piccioli. https://www.businessoffashion.com/community/people/pierpaolo-piccioli.
Business of Fashion. (2019, May 10). Valentino Garavani . Valentino Garavani. https://www.businessoffashion.com/community/people/valentino-garavani.
Christie's. (2012, July). A Pair of Louis XVI Giltwood Fauteuils. https://www.christies.com/lotfinder/Lot/a-pair-of-louis-xvi-giltwood-fauteuils-5586812-details.aspx.
Château de Versailles. (2020, April 15). Louis XVI. http://en.chateauversailles.fr/node/5920/louis-xvi.
Editors of Encyclopaedia Britannica. (1998, July). Louis XVI style. Encyclopædia Britannica. https://www.britannica.com/art/Louis-XVI-style.
Kisluk-Grosheide, D. O. (2003). French Furniture in the Eighteenth Century: Seat Furniture. https://www.metmuseum.org/toah/hd/sfurn/hd_sfurn.htm.
Marc Maison. Louis XVI Style. https://www.marcmaison.com/architectural-antiques-resources/louis_xvi_style.
Mayfair Gallery. Louis XVI. https://www.mayfairgallery.com/style/louis-xvi.
Mower, S. (2016, January 28). Valentino Spring 2016 Couture Collection. https://www.vogue.com/fashion-shows/spring-2016-couture/valentino.
study/louis-xiv-xv-xvi-styles/.
Business of Fashion. (2019, August 4). Pierpaolo Piccioli. https://www.businessoffashion.com/community/people/pierpaolo-piccioli.
Business of Fashion. (2019, May 10). Valentino Garavani . Valentino Garavani. https://www.businessoffashion.com/community/people/valentino-garavani.
Christie's. (2012, July). A Pair of Louis XVI Giltwood Fauteuils. https://www.christies.com/lotfinder/Lot/a-pair-of-louis-xvi-giltwood-fauteuils-5586812-details.aspx.
Château de Versailles. (2020, April 15). Louis XVI. http://en.chateauversailles.fr/node/5920/louis-xvi.
Editors of Encyclopaedia Britannica. (1998, July). Louis XVI style. Encyclopædia Britannica. https://www.britannica.com/art/Louis-XVI-style.
Kisluk-Grosheide, D. O. (2003). French Furniture in the Eighteenth Century: Seat Furniture. https://www.metmuseum.org/toah/hd/sfurn/hd_sfurn.htm.
Marc Maison. Louis XVI Style. https://www.marcmaison.com/architectural-antiques-resources/louis_xvi_style.
Mayfair Gallery. Louis XVI. https://www.mayfairgallery.com/style/louis-xvi.
Mower, S. (2016, January 28). Valentino Spring 2016 Couture Collection. https://www.vogue.com/fashion-shows/spring-2016-couture/valentino.