Louis XVI style

Louis XVI style
Style of the visual arts produced in France from с 1760 to the French Revolution.

The predominant style in painting, architecture, sculpture, and the decorative arts was Neoclassicism
a reaction against the excesses of the Rococo style and a response to Jean-Jacques Rousseau's call for "natural" virtue, as well as a response to the excavations at Pompeii and Herculaneum. The most prominent painter was Jacques-Louis David, whose severe compositions recalled the style of Nicolas Poussin. The foremost sculptor of the day was Jean-Antoine Houdon. The style in furniture was classical, yet workmanship was more complex than in any earlier period. Jean-Henri Riesener and other German craftsmen were among the most prominent cabinetmakers. See also Classicism and Neoclassicism.

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also spelled  Louis Seize,  

      visual arts produced in France during the reign (1774–93) of Louis XVI, which was actually both a last phase of Rococo (Rococo style) and a first phase of Neoclassicism. The predominant style in architecture (Western architecture), painting, sculpture (Western sculpture), and the decorative arts was Neoclassicism, a style that had come into its own during the last years of Louis XV's life, chiefly as a reaction to the excesses of the Rococo but partly through the popularity of the excavations at ancient Herculaneum and Pompeii, in Italy, and partly on the basis of Jean-Jacques Rousseau's call for “natural” virtue and honest sentiment. One of the most dramatic episodes in the stylistic oscillation from Rococo to Neoclassicism was played out in 1770 at Mme du Barry's Pavillon de Louveciennes. A series of large painted canvases by the Rococo painter Jean-Honoré Fragonard depicting the “Progress of Love” were removed almost as soon as they were installed and replaced with a series commissioned from Joseph-Marie Vien, a Neoclassicist. Vien's pupil Jacques-Louis David (David, Jacques-Louis) was the most important painter of the reign of Louis XVI; his severe compositions recalling the style of the earlier painter Nicolas Poussin are documents extolling republican virtues. During the Revolution, David was a deputy and voted for the execution of the King.

      The foremost sculptor of the reign of Louis XVI was Jean-Antoine Houdon (Houdon, Jean-Antoine) (1741–1828). He portrayed a number of the most prominent men of his day, often in classical togas. His nude “Diana,” of which there are several versions, attempts to evoke the feeling of the Classical Greek nude.

      The lavish court style of Louis and Marie Antoinette, his young queen, gave impetus to the highly skilled ébénistes, or cabinetmakers, of the period. Whereas the general style of furniture was again Neoclassic (i.e., straight, simple lines and classical motifs), the workmanship was as complicated and as finely performed as in any period to date. Jean-Henri Riesener (Riesener, Jean-Henri) and Bernard van Risenburgh were two of the foremost cabinetmakers, filling commissions for Mme du Barry as well as for the Queen. Many of the ébénistes, including Riesener, were German craftsmen who, nevertheless, contributed to the tradition of French furniture. Other makers of luxury items benefited from the excesses of the court, chief among them the porcelain manufactory at Sèvres.

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Universalium. 2010.

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