By Albert Jacquemart
From the center a while to modern occasions, ornamental artwork could be defi ned by way of the creative fabrics, designs and gadgets utilized in either structure and inside layout. just like many artwork kinds ornamental artwork maintains to adapt, originating with items so simple as a chair, famous for its application, to basically decorative gadgets, celebrated for his or her aesthetic good looks. ornamental artwork goals to eulogize those often undervalued items through giving compliment to all mediums of ornamental artwork through the centuries. initially by no means regarded as wonderful paintings, their creative capability used to be now not stated unti. Read more...
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It is no longer the carved and engraved furniture acknowledged as too severe, nor is it that which in its dazzling elegance was to find its place in the palaces of Louis XIV. Also there is no doubt that conjointly with the plating of Boulle, ebony with gilded bronze would be found at a later period in the dwellings of serious-looking magistrates or Jansenists living according to austere morals. Moreover, the search for a new, and still undetermined, form is manifested here and in many cases ebony disappears to make way for more coy marquetry.
It has been ascertained that certain stones change their tints when exposed to a high temperature, some assuming a deeper colour and others becoming paler. By skilfully making use of this knowledge, works may be enriched and brought nearer to nature. A large cabinet in the Musée de Cluny, unfortunately disfigured by successive additions, exhibits the Florentine pietra dura work in its full development. Here we see landscapes with buildings, in another part birds and fruits, especially cherries; the luminous point is obtained by the discolouration of the carnelian through the use of a heated iron.
Castle of Écouen, Musée national de la Renaissance. 51 Cabinet, 16th century. Carved ebony, marquetry of several different wood species. 52 Cabinet, Paris, c. 1645. 5 cm. Musée du Louvre, Paris. 53 Cabinet, Italy, 16th century. Red shell veneer and thin ivory lines. Blois Castle. 54 André-Charles Boulle (attribution), Chest. Copper, tin and shell veneering on a wooden core, bronze gilt, 86 x 148 cm. Musée du Louvre, Paris. André-Charles Boulle (attribution), Writing desk, c. 1715. Bérain marquetry of copper on ebony base.