Term used to describe the continuation in the decorative arts of the Neo-classical style (see Neo-classicism) in France between 1800 and 1805 under Napoleon Bonaparte (First Consul; 1799–1804). His Consulate was an era of renewal in the furniture, porcelain and metalwork industries in France (see France, Republic of, §VI, 4), greatly encouraged by the patronage of Napoleon, who sought a model for his position in the magnificence of ancient Rome. While little actual building took place, the period was important for such changes in interior decoration as the lavish use of draperies—begun during the 1790s—that established the Consulate and the Empire styles (for illustration see Empire style); although these terms were invented by later art historians to denote the change in political systems, in fact the styles to which they refer are virtually indistinguishable. Furniture was similar to that of the preceding Directoire style...
The name derives from the first French Empire under Napoleon I (see Bonaparte family, §1). The dates defining the period of the Empire historically (1804–14) and the duration of the style itself are at variance: the early phase, referred to by contemporaries as ‘le goût antique’, was a late form of Neo-classicism and became more developed as the chaos resulting from the French Revolution subsided c. 1797. The Directoire style and the Consulate style—terms similarly derived from political periods in France—were both part of the development of the Empire style.
The term was originally applied to architecture, but because Napoleon rejected the building of new castles and palaces as wasteful, the style was especially used in interior design and decoration, later being extended to other decorative arts and fashion. There was strong conscious allusion to the civilization of imperial Rome through the building forms and motifs used by the first Roman emperors, who pursued goals of internal peace and a new order together with an expansionist military policy, as did Napoleon. Personal taste and comfort became of secondary importance to the demonstration of wealth and power. The Empire style spread throughout Europe and acquired fresh impetus with the Napoleonic conquests....
Architectural and decorative arts style that flourished in the USA from shortly after the acknowledgement of independence in the Treaty of Paris (1783) until c. 1820. The term is derived from the period surrounding the creation of the federal constitution in 1787 and was in use in a political sense by that year. Essentially it was a form of Neo-classicism, strongly influenced by manifestations of that style in England and, to a lesser extent, in France; but at times certain more conservative qualities inherited from the previous Colonial period are also present. The inspiration of European, and especially English, Neo-classical architecture was to be expected in a society grounded in that of 18th-century England; but an added impetus was the association often cited at the time between the fledgling American republic and the ancient Roman one.
Although a few indications of European Neo-classical influence are found in the American colonies before the Revolution began in ...
Term used for a manifestation of the Neo-classical style initiated in the decorative arts of France during the Second Empire (1852–71) of Napoleon III and his wife, the Empress Eugénie. Based on the standard repertory of Greco-Roman ornament, it combined elements from the Adam, Louis XVI and Egyptian styles with a range of motifs inspired by discoveries at Pompeii, where excavations had begun in 1848; it can be identified by the frequent use of Classical heads and figures, masks, winged griffins, sea-serpents, urns, medallions, arabesques, lotus buds and borders of anthemion, guilloche and Greek fret pattern. Néo-Grec was eclectic, abstracted, polychromatic and sometimes bizarre; it enjoyed popularity as one of the many revival styles of the second half of the 19th century.
In Paris, the Néo-Grec style was best exemplified in the famous ‘Maison Pompéienne’ (1856–8; destr. 1891) designed for Prince Napoléon Bonaparte (see...
Richard John and Ludwig Tavernier
A decorative style of the early to mid-18th century, primarily influencing the ornamental arts in Europe, especially in France, southern Germany and Austria. The character of its formal idiom is marked by asymmetry and naturalism, displaying in particular a fascination with shell-like and watery forms. Further information on the Rococo can be found in this dictionary within the survey articles on the relevant countries.
The nature and limits of the Rococo have been the subject of controversy for over a century, and the debate shows little sign of resolution. As recently as 1966, entries in two major reference works, the Penguin Dictionary of Architecture and the Enciclopedia universale dell’arte (EWA), were in complete contradiction, one altogether denying its status as a style, the other claiming that it ‘is not a mere ornamental style, but a style capable of suffusing all spheres of art’. The term Rococo seems to have been first used in the closing years of the 18th century, although it was not acknowledged by the ...