Relevant bibliographies by topics / Baroque Furniture

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Baroque Furniture'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Baroque Furniture"

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Гарин, V. Garin, Чернышев, Aleksandr Chernyshev, Разиньков, and Egor Razinkov. "History of Baroque Furniture." Forestry Engineering Journal 4, no. 2 (2014): 145–54. http://dx.doi.org/10.12737/4519.

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The Baroque style is the result of the further evolution of the style of the Renaissance. It began to take its forms from the end of XVI century. Baroque developed in European countries during the first half of the XVII and XVIII century. Germany, Austria and England, which had only some features of this style in the middle of XVII century, occupy a special place. The architecture of Italy Baroque began to take shape in the second half of the XVI century, and the formation of its features was largely due to the work of Michelangelo. Baroque style left its mark not only on the architecture of buildings, but also on the interior of the rooms, furniture design.
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Klinzmann, Carola. "Aventurine Lacquer on a Baroque Furniture Ensemble from Kassel, Germany." Studies in Conservation 64, sup1 (2019): S139—S146. http://dx.doi.org/10.1080/00393630.2019.1603667.

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3

ANDAÇ GÜZEL, Tuğba, and Hacı Hasan EFE. "EXAMINATION OF THE DINING ROOM IN THE PRESIDENTIAL ATATURK MUSEUM MANSION IN TERMS OF INTERIOR AND FURNITURE." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 11, no. 1 (2021): 282–300. http://dx.doi.org/10.7456/11101100/016.

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Ataturk Museum Pavilion formerly known as “Çankaya Mansion” is a building that has witnessed many important events of the history of the Republic of Turkey, and is one of the most important buildings that were put into service for Atatürk. This study covers the Dining Room which was added to the ground floor of the mansion after the renovation carried out between 1923-1924. This study is about the examination and scientific evaluation of the dining room in terms of interior and furniture. The dining room is a meeting place rather than a place used for dining in Ataturk's era. In this place, along with Atatürk, well-known and important personalities of that period came together. Many precious conversations affecting the history of the Republic of Turkey has hosted. As a result of the work carried out in the dining room, it was determined that the room was decorated in a mix of Renaissance, Baroque and Rococo style and in an original style. The furniture is carved in the same original style. Also, some of the examined furniture were found to be compatible with the numerical measurement values of today's furniture in terms of ergonomic and anthropometric criterias. As a result of the study, many new data obtained about the mansion have been added to the literature about the mansion.
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ANDAÇ GÜZEL, Tuğba, and Hacı Hasan EFE. "EXAMINATION OF THE DINING ROOM IN THE PRESIDENTIAL ATATURK MUSEUM MANSION IN TERMS OF INTERIOR AND FURNITURE." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 11, no. 1 (2021): 282–300. http://dx.doi.org/10.7456/11001100/016.

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Ataturk Museum Pavilion formerly known as “Çankaya Mansion” is a building that has witnessed many important events of the history of the Republic of Turkey, and is one of the most important buildings that were put into service for Atatürk. This study covers the Dining Room which was added to the ground floor of the mansion after the renovation carried out between 1923-1924. This study is about the examination and scientific evaluation of the dining room in terms of interior and furniture. The dining room is a meeting place rather than a place used for dining in Ataturk's era. In this place, along with Atatürk, well-known and important personalities of that period came together. Many precious conversations affecting the history of the Republic of Turkey has hosted. As a result of the work carried out in the dining room, it was determined that the room was decorated in a mix of Renaissance, Baroque and Rococo style and in an original style. The furniture is carved in the same original style. Also, some of the examined furniture were found to be compatible with the numerical measurement values of today's furniture in terms of ergonomic and anthropometric criterias. As a result of the study, many new data obtained about the mansion have been added to the literature about the mansion.
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ANDAÇ GÜZEL, Tuğba, and Hacı Hasan EFE. "EXAMINATION OF THE DINING ROOM IN THE PRESIDENTIAL ATATURK MUSEUM MANSION IN TERMS OF INTERIOR AND FURNITURE." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 11, no. 1 (2021): 282–300. http://dx.doi.org/10.7456/11101100/016.

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Ataturk Museum Pavilion formerly known as “Çankaya Mansion” is a building that has witnessed many important events of the history of the Republic of Turkey, and is one of the most important buildings that were put into service for Atatürk. This study covers the Dining Room which was added to the ground floor of the mansion after the renovation carried out between 1923-1924. This study is about the examination and scientific evaluation of the dining room in terms of interior and furniture. The dining room is a meeting place rather than a place used for dining in Ataturk's era. In this place, along with Atatürk, well-known and important personalities of that period came together. Many precious conversations affecting the history of the Republic of Turkey has hosted. As a result of the work carried out in the dining room, it was determined that the room was decorated in a mix of Renaissance, Baroque and Rococo style and in an original style. The furniture is carved in the same original style. Also, some of the examined furniture were found to be compatible with the numerical measurement values of today's furniture in terms of ergonomic and anthropometric criterias. As a result of the study, many new data obtained about the mansion have been added to the literature about the mansion.
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6

Tsoumas, Johannis, and Paraskevi Kertemelidou. "Designers, makers, influencers: the contribution of William Halfpenny and Thomas Chippendale to the development English Chinoiserie furniture design." Res Mobilis 13, no. 18 (2024): 23–39. http://dx.doi.org/10.17811/rm.13.18.2023.23-39.

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The term Chinoiserie, i.e. the tendency to incorporate elements of Chinese culture into European art and architecture, redefined the concept of style in seventeenth-century France and influenced the aesthetic formation of European arts and design in the century that followed. The term became particularly popular in England, as it was also associated with the need for renewal after the excessive ornamentation, elaborate symbolism and intense theatricality of Baroque, as well as the aesthetic and ideological perfection of Classicism. As early as the first half of the eighteenth century, the architect and designer William Halfpenny (1723-1755) showed a keen interest and skill in the transition from classical design to the mysterious Chinese motifs, contributing thus to the stylistic formation of English Chinoiserie, especially in the field of architecture and by extension furniture design. His experimentally pioneering approach through his publications was the beginning of a new aesthetic and ideological era that had a catalytic effect on the shaping of the design concept, taste and construction techniques of the equally important English furniture designer, Thomas Chippendale (1718-1779). This research aims to highlight the establishment of Chinese culture and aesthetics, known as Chinoiserie, in the eighteenth-century England, as regards the formation of furniture design, through the pattern books and design experimentation of William Halfpenny, as well as the inspired publications and the manufacturing mastery of Thomas Chippendale.
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Hnilica, Ondřej, Stefan Bichlmair, and Josef Plášek. "Indoor Climate in Jesuit Church of Holy Name of Jesus in Telc." E3S Web of Conferences 111 (2019): 03056. http://dx.doi.org/10.1051/e3sconf/201911103056.

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The Jesuit church of Holy Name of Jesus from year 1667 is integral part of main square of Telc with Baroque houses from 17th century listed in UNESCO World Heritage Site since 1992. The natural indoor climate of Jesuit church is heated only in occupied pews during liturgical ceremony in winter season. The hygrothermal analysis of natural indoor climate in Jesuit church is performed by preventive conservation method of Target range and Historical climate in period from April 2017 to October 2018. The obtained result shows appropriate indoor climate for preventive conservation of historical furniture (main altar, lateral chapels, pulpit, confessional, organ, paintings), holy remains and valuable artefacts for liturgical ceremony. This hygrothermal analysis of natural indoor climate in Jesuit church supports current state of local heating in occupied pews during liturgical ceremony in winter season.
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Alberdi, Enedina, Miguel Galindo, and Ángel L. León-Rodríguez. "Evolutionary Analysis of the Acoustics of the Baroque Church of San Luis de los Franceses (Seville)." Applied Sciences 11, no. 4 (2021): 1402. http://dx.doi.org/10.3390/app11041402.

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In the 16th century the Society of Jesus built a large number of churches following the Tridentine model of a Latin cross and a single nave. However, the shift towards this model did not entail the abandonment of the central floor plan, especially in the 17th century. The acoustics of these spaces can present phenomena linked to focalizations which increase the sound pressure level. The church of San Luis de los Franceses, built by the Jesuits for their novitiate in Seville (Spain), is an example of a Baroque church with a central floor plan. Although the church has hosted different congregations since its inauguration it is currently desacralized and used for theatres and concerts. The acoustics of this church were studied by the authors through in situ measurements and virtual models. The main objective was to analyse the evolution and perception of its sound field from the 18th to 21st centuries, considering the different audience distributions and sound sources and the modifications in furniture and coatings. Analysis of the evolution of its sound field shows that the characteristics have remained stable, with a notable influence of the dome on the results for the different configurations studied.
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Juan García, Natalia. "CONTRIBUCIÓN AL CONOCIMIENTO DE LOS INTERIORES MONÁSTICOS: “¿SON ESTAS CELDAS DE MONJES O LONJAS DE MERCADERES?”. Contribution to acquire information about monastery interiors: “Are these monks´ cells or merchants markets?”." Res Mobilis 1, no. 1 (2012): 3. http://dx.doi.org/10.17811/rm.1.2012.3-22.

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Este trabajo estudia la decoración interior de las celdas benedictinas en España durante los siglos XVII y XVIII. Esta investigación se basa en el análisis de unas cartas redactadas por los monjes visitadores de la Orden de San Benito que recogían comentarios sobre el modo de vida y la observancia que se seguía en los monasterios. Hemos examinado estas epístolas para encontrar referencias que nos permitan conocer la ornamentación, los muebles y los objetos que había en las habitaciones privadas. Los datos que hemos localizado demuestran que los benedictinos se rodearon de suntuosos enseres con los que hicieron alarde de su gusto barroco a partir de un lujoso mobiliario que, si bien les alejó de la pobreza y sencillez monacal, vinculó a estos monjes a la moda y la estética de su tiempo.This paper studies the interior decoration of the Benedictine cells in Spain during the seventeenth and eighteenth centuries. This research is based on the analysis of some letters written by the so-called visitor monks of the Order of Saint Benedict who collected comments on lifestyle and the religious observance which was followed inside the monasteries. We have examined these epistles to find references that can allow us to know how the ornamentation, furniture and objects placed in the private rooms were. The data that we have located show how the Benedictines were surrounded by sumptuous furnishings with which they flaunted their Baroque lifestyle, from luxurious furnishings that moved them away from their original monastic poverty and simplicity, linking them to both fashion and the aesthetics of their time.
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Boda, Zsuzsanna. "„Megbízottam szoborral hétfőn este indul…” Az egervári Straub-szobrok múzeumba kerülésének és másoltatásának története dokumentumok tükrében." Művészettörténeti Értesítő 71, no. 1 (2023): 97–124. http://dx.doi.org/10.1556/080.2022.00006.

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The rococo wooden statues of St Sebastian and St Roch were purchased by the Museum of Fine Arts in 1916. Earlier they had adorned the high altar of the church of St Catherine of Alexandria in Egervár (Zala county) flanking the tabernacle. Their first researcher, Mária Aggházy attributed them to the Graz sculptor Philipp Jakob Straub (Wiesensteig 1706–Graz 1774). The Egervár church of mediaeval origin belonged after the Ottoman era to the advowson of the Széchényi family who had trade and art relations with Styria, too; they had the church rebuilt and furnished in baroque style in the mid-18th century.As part of the contract of sale, the museum undertook and financed the making of exact copies of the statues to replace the original ones on the high altar, where they still are. It can be reconstructed from the correspondence of 1912–’22 preserved in and Museum of Fine Arts Archives and the Archives of the Diocesan Archives in Szombathely that probably little before 1912 the statues were transferred to the Szombathely episcopacy for conservation. Bishop János Mikes had them restored and maybe also exhibited. Their sale became necessary for the parish to be able to renovate the deteriorating Egervár church. The deal was concluded with an ordinary procedure, but World War I and the inflation it entailed greatly protracted the making of the copies and boosted the costs. Eventually, the replicas were completed in two phases by teachers of the National Royal Hungarian School of Applied Arts, sculptor Sándor Matéka (St Sebastian) and decorator and furniture designer Béla Kajdy (St Roch).
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Dissertations / Theses on the topic "Baroque Furniture"

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Jeffroy-Meynard, Marie-Nicole. "FROM BAROQUE TO ROCOCO: PUBLIC TO PRIVATE SPACE IN THE HÔTEL DE SOUBISE." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1204.

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I will build an argument utilizing the Hôtel de Soubise as a case study for the way in which the division between exteriors and interiors depicts the shifting cultural fabric of 18th-century French society.
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SUN, CHINQ-HORNG, and 孫慶鴻. "The Change of the Cultural Context of Taiwanese Baroque Furniture During the Japanese Colonial Period." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/w28r9f.

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碩士<br>國立中正大學<br>台灣文學與創意應用研究所<br>107<br>Taiwanese baroque furniture took shape on the basis of Chinese furniture craftsmanship which was mixed with the modern, foreign furniture style popular during the Japanese colonial period---especially the baroque architectural style, and enhanced with foreign design and craftsmanship to form a particular local cultural flavor. This article focuses on the historical context change through which Taiwanese traditional furniture transformed into baroque furniture and investigates the essence of such change, uncovering the impact baroque style had on Taiwanese architecture and furniture and exploring its characteristics as well as explaining its cultural significance. Through analysis, it can be seen that Taiwanese furniture education and industry during the Japanese colonial period were different from that of the Qing dynasty in that by the time of the Japanese colonial rule there were not only modern educational system, trade union organization but also catalogues of foreign style furniture imported from Japan circulating in the market. These differences likely encouraged Taiwanese craftsmen experienced in the making of Chinese style furniture to begin imitating and producing foreign style furniture, creating furniture of a unique Taiwanese baroque style. Taiwanese baroque furniture can be categorized according to (a) materials: mainly wood, glass, floral tile and such; (b) craftsmanship: floral motif, turning projects, wood sticker, yosegi and such; (c) design: arc and curve, decorative bracket, composition, spiral motif, circular arch, pediment, capital and such. All of them demonstrate the unique character of Taiwanese craftsmanship.
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Books on the topic "Baroque Furniture"

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samling, Danske kongers kronologiske, ed. Silver furniture. Rosenborg, 1992.

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2

Dobler, Uwe. Barockmöbel: Bürgerliche Möbel aus zwei Jahrhunderten. Battenberg, 1992.

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Brigitte, Langer. Die deutschen Möbel des 16. bis 18. Jahrhunderts. Prestel, 1996.

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Moore, Arthur Cotton. Arthur Cotton Moore--industrial baroque: Paintings and furniture. Barbara Fendrick Gallery, 1990.

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Ute, Hack, King Rachel (Curator), and Baroque furniture in Boulle technique (2011 : Bayerisches Nationalmuseum), eds. Baroque furniture in the Boulle technique: Conservation, science, history. Bayerisches Nationalmuseum, 2013.

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6

Helga, Müller, and Württembergisches Landesmuseum, eds. Barockmöbel aus Württemberg und Hohenlohe 1700-1750: Geschichte, Konstruction, Restaurierung. Das Museum, 1985.

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Fligny, Laurence. Le mobilier en Picardie: 1200-1700. Picard, 1990.

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Schatt, Christian. Barock- und Rokoko-Möbel: Mobiliar aus Bürgenhäusern und Herrensitzen des 17. und 18. Jahrhunderts. Battenberg, 2000.

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Wannenes, Giacomo. Mobili italiano del Settecento. Leonardo, 1991.

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10

Colle, Enrico. Il mobile barocco in Italia: Arredi e decorazioni d'interni dal 1600 al 1730. Electa, 2000.

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Book chapters on the topic "Baroque Furniture"

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Jackson-Beckett, Michelle. "Einfacher Hausrat." In Vienna and the New Wohnkultur, 1918-1938. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780198879497.003.0002.

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Abstract This chapter argues that the commodifications of “simple” living and rural vernacular furniture were used as propagandistic tools by the Viennese furniture trade and related magazines, organizations, and retailers in constructing new and refashioning old definitions of Austrian modernity. Specifically, they hoped to sell the idea of Viennese charm to an international audience and shore up cultural and economic stability in the wake of World War I. The centerpiece of this effort was a series of exhibitions titled Einfacher Hausrat (Simple Household Goods) that took place at the Austrian Museum of Art and Industry between 1916 and 1921. Designers such as Hugo Gorge, Rudolf Lorenz, and Fritz Kruh sought comfort in a historicist mélange of styles, reinterpreting neoclassical, baroque, rococo, British Arts and Crafts, and Biedermeier forms in home furnishings. Socialist critics, incensed by the exhibitions’ high prices, argued that Einfacher Hausrat only paid lip service to supporting the dire needs for affordable home furnishings, while in reality the exhibitions served the growing market of luxury export furniture.
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"Chapter 18. Kent and the Georgian Baroque Style in Furniture: Domestic Commissions." In William Kent: Designing Georgian Britain. Bard Graduate Center, 2013. http://dx.doi.org/10.37862/aaeportal.00218.018.

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