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ART
BRIEF WESTERN HISTORY

OF FURNITURE DESIGN (PART 2).
The history of the Artisan and Industrial Design of the chair.
By Ibar Federico Anderson.

National University of La Plata.
Receipt date: // 2020.

Acceptance date: // 2020.
ArtyHum Revista de Artes y Humanidades, ISSN 2341-4898, nº 74, Vigo, 2020.

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Abstract. The aim here is to undertake a
Considering that there are many detailed study of chair Design, from a
books on Art History that illustrate mixed, hybrid and complex approach to
examples of furniture design from the Art and Craft and Industrial Design
ancient Egyptians, through the (without analyzing its links with the
European courts of Louis XIII, Louis History of Architecture).
XIV, Louis XV and Louis XVI among Keywords: Artisan, Design, History, Industrial,
others of historical relevance; and that, Chairs.
on the other hand, there are also many

Industrial Design History books that
illustrate examples of furniture design
from the Industrial Revolution of the
United Kingdom of Great Britain from
the mid-eighteenth century onwards.
It has been found that these two

areas of study of the Social Sciences
(Art versus Design) are not linked for
epistemological reasons impossible to
discuss in such a short space for an
article.
Reason why, this essay is born

from an innovative idea on the
historiographic analysis of Art and
Design (Artisanal and Industrial) of
furniture. Given that in the ArtyHum
magazine Nº 71, under the title “Brief
western history of furniture design”, a
general study of furniture Design and
its relationship with Architecture was
addressed.

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Introduction. If we understand Civilization as a

synonym for Human Culture, we will
In the article titled Brief Western
focus on its western origins.
History of Furniture Design. Relations
between artisanal and industrial For a better understanding of the
furniture design with the history of dates, geographical and / or cultural
architecture, published in ArtyHum places, we are going to divide the
magazine No. 71 (April 2020)1, the development into periods that we will
general reasons for carrying out a call cultural phases or cultural periods.
summary study on furniture in general Inspired by what the historian of
were detailed. Architecture and objects Sigfried
Giedion (1888-1968) in his text
On the other hand, what will be
Mechanization takes command (1978),
developed here is not a study in general
he called “the spirit of the time 3”. Here
of the piece of furniture, but a
epoch will be synonymous with the
deepening in particular of the chair. A
phase of time in which said piece of
piece of furniture that has received
furniture (chair) was manufactured, but
particular attention within the field of
in a broader sense of its technological
human culture, let's say from the origins
manufacture (artisanal or industrial), its
of civilization. Especially since the
materials (wood, iron, etc.) or the
great ancient civilizations that emerged
productive scales (single pieces or large
in the so-called Ancient Age2.
series of units); Therefore, the
geographic-temporal phase must
account for the production of said
furniture in a cultural, philosophical,
1
Digital Magazine of Arts and Humanities: historical, political and economic sense.
https://www.artyhum.com
2
The Ancient Age is a period used by history
studies, defined by the appearance and
development of the first civilizations that had
writing. During the Ancient Age hundreds of
civilizations of great importance arose and
developed on all continents, many of which
generated products, institutions, knowledge and broader than strictly material,
values that are still present today, from Ancient
Egypt, through the ancient civilizations Vedic in technological and economic.
India, Ancient China, ancient Greece and Rome,
the Achaemenid Empire in Persia, among many The phases are as follows:
others. In the course of the Ancient Age cities
and the urbanization process emerged, the
3
State, law and law, as well as great religions Building on the "spirit of the times" (Zeitgeist)
such as Buddhism and Judeo-Christianity. by Georg Wilhelm Friedrich Hegel (1770-1831).
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a) Ceremonial symbolic phase j) Conquest phase (2nd

(2850 BC to 332 BC): Egypt. neoclassical stadium) (1793 to
b) Logocentric, abstract, 1815): France.
philosophical phase (600 BC k) Conservative, confusing and
to 323 BC): Greece. eclectic phase (1820-1900):
c) Jurisprudential and Europe.
institutional phase (753 BC to l) Rational and imaginative
133 BC): Rome. phase (1830 to an unknown
d) Religious phase of the first date): Vienna.
period: Primitive (1000 to m) Austere functionalist phase
1200): Europe. (1895 to 1920): USA.
e) Second phase religious phase: n) Romantic phase (1850 to
of Ceremonial Solemnity 1900): England.
(1200 to 1450): Europe.
ñ) Rational, lucrative-bourgeois
f) Calm phase on earth (1450 phase, of acceptance of the
until 1620/88): Europe. machine and of the elitist
g) Court phase (1559 to 1793): aesthetic culture (1890 to
Europe. 1914): Europe.
h) Stage of the nineteenth o) Normative, instrumental,

century illustrated bourgeois vindictive, puritanical,
phase (1688 to 1779): universalist, a historical,
England. scientific, messianic, stoic,
ascetic, secular, Newtonian,
i) Stage of the nineteenth
Cartesian, Socratic, Platonic,
century illustrated bourgeois
classical phase (1914/1920 up
phase (1st neoclassical stage)
to the present): Europe and
(1728 to 1806): England.
America.
Contemporary phase to the
Industrial Revolution. p) Formal expressionist technical
phase of the Bauhaus (1919
to 1928): Europe.

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q) Bauhaus productivist technical Development.

phase (1928 to 1930):
a) Ceremonial symbolic phase (2850
Europe. BC to 332 BC): Egypt.
r) Soviet deficit infrastructural In the Egypt of the pharaohs like
phase of the Vkhutemas the 18th dynasty, like Tutankhamun
(1920 to 1924): exURSS. (1336 BC - 1327 BC), much of their
s) ULM competitive quality phase furniture was zoomorphic in design4We
(1955 to 1968): Germany. observe this in the cases of the chair
legs, where they are oriented in one
t) Art Deco decorative popular
direction as if it were an animal (ending
functional phase (1918 to
in a lion's claw, or another similar
1939): Europe and America.
feline).
u) Use and pull phase of the
Other organic morphologies were
satisfaction of short-term
the seats such as the folding stool with
needs and hedonistic pleasure
carved feet in the shape of a bird's head
Pop (1960 to 1970): The
(head shape and duckbill).
world.
On some stools from 2000 BC,
v) Ephemeral phase and the
two lions support a table on their backs,
eclectic show of materials,
which would serve as a support or
shapes and colors as a source
support base to sit on.
of Postmodern aesthetic
pleasure (1965 to the present
day): The world.
4
It is an adjective that qualifies or describes any
object that presents or has a degree of animal
kinship. I mean it looks like an animal.
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Such lion paws were supported by

supports in the shape of a stipe 5, which
made them not touch the floor.
Therefore, when trying to physically
separate the sacred lion from the earth,
an element had to be interposed
between the earth and the lion's paws.
On the left folding chairs from Tutankhamun's
tomb, now in the National Museum of Egypt, The design reflected the mythical
made of wood with leather and gold or silver polytheistic cosmogonic structure,
decorative elements. You can see a cow skin and which was evident in its lavishly carved
the stylized legs of the chair, they are decorated
backs with hieroglyphs and
with duck heads with their mouths open as if
they were going to bite the horizontal bars that
representations of gods, in religious
form the base and it is also decorated with scenes. They also applied precious
ebony and ivory inlays. On the right, a 14th- materials such as gold and ivory (only
century BC stone-encrusted gold chair present with an aesthetic and not economic
in the Egyptian Museum in Cairo, in this official
value, since capitalism did not exist).
New Kingdom bas-relief, the pharaoh appears
comfortably reclining on the chair, exchanging
The wood was brought from Syria and
a glance with his wife. As is conventional in Phenicia (olive, fig, cedar, pine).
Egyptian painting, Tutankhamun presents both
The chairs were adapted, to squat
hands with the thumb to the same side. The
in the oriental style (in which case the
throne chair has legs finished in a lion's claw on
stipes. pieces were lower than normal, and
their seat was deeper) or to sit with
hanging legs, in the oriental style. One
It would be evident in the other
of the characteristic elements of the
throne seats that they would eliminate
furniture of this period was the use of
the lion in its entirety and only keep the
the prop, as it we appreciate in one of
four hind legs in the same direction
the seats of Tutankhamun; the prop was
towards where the pharaoh looked,
the introduction of a structural
disappearing the rest of the body of the
reinforcement that supported the
lions.
5
It is an inverted truncated pyramid column or
pilaster that sometimes has support functions
and is also anthropomorphic.
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backrest with the concave seat (so that drawings of the vessels). Its legs curved
the cushions do not fall). outward so that they wouldn't dig into
the ground. Without backrest, the
In other situations, such as the
diphros was a stool.
curved ebony throne chair for religious
use from 1350 BC, it uses the side
square to reinforce the link between the
seat and the backrest (in combination
with the strut). They also used bars and
buttresses (pioneers of future mills 6of
European furniture). In the Egyptian
thrones armchairs (the armchairs are
chairs that incorporate armrests), the
chambranas symbolized the unification
of the Old empires into the New. There On the left, sculpture with a man sitting on a
were also straight bars, pure, we would klismos in the J. Paul Getty Museum. Source:
De I, Sailko, CC BY-SA 3.0. On the right
almost say: classic (it is that the
Klismós with curved and conical backrest,
vernacular model already had a classic curved legs. Funerary stele of Janthipo, Athens,
purity, incredibly surprising). ca. 430-420 BC Source: De Marie-Lan Nguyen
(2007), CC BY 2.5.
b) Logocentric, abstract, philosophical

phase (600 BC to 323 BC): Greece.
Greece had received the Eastern

and Egyptian influence. As for its
furniture, we find two versions of
chairs. With a backrest, the famous
klismos (female piece of furniture), we On the left, Apollo sitting on a table. Tondo of
could almost say that it is a ceramic an attic kílix of white background, of the Painter
of Pixtoneno, h. 480 BC Delphi Archaeological
chair, since it is only known for ceramic
Museum. Source: De Fingalo - Own work.
vessels (later it was reconstructed by the
Image renamed from Image: 07Delphi
neoclassical style, based on these Apoll01.jpg, CC BY-SA 2.0. On the right, Stele
of Kalliarista tomb. Found in Rhodes at Kizil
6
Set of slats or crossbars that join the legs of a Tepe (today Anatipsi), in the western area of the
table or chair to affirm them.
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ancient necropolis. The dead woman sits on a acropolis, there are examples of these
stool (diphros) and her maid stands in front,
armchairs from the period: 400 BC to
holding the coffin with her lover's jewelry.
330 BC approximately made in marble.
Inscribed in the epistle, under the pediment is
the epigram: If there is a highest praise in the
Also those of proedra stone, for public
world for a woman, then Kalliarista, daughter trials.
of Phileratos, died for wisdom and virtue. For
this reason, her husband Damocles installed
this stele as a memorial of love; and may a
benevolent spirit follow him for the rest of his
life. Marble.
On the left, a stone chair very similar to that

found in the ancient theater of Dionysius
Eleuthero seen from the Acropolis hill in
Athens, Greece. On the right, Greek marble
judge's chair: proedra. Found on the site of the
On the left, reconstruction of the klismos chair. Prytaneum in Athens.
On the right,reconstruction of diphros chair, TH
Robsjohn-Gibbings Diphros Stool Diphros
Okladias Saridis from Athens United Kingdom, The religious seats, such as the
1963 olive wood, leather, brass 32 wx 19 dx 17 terracotta throne of the Tomb of
h inches Signed with manufacturer label applied
Kamilari, from 3000/2000 BC, where
on bottom: [Designed by TH Robsjohn-
the gods sat, exceptionally
Gibbings manufactured by Saridis of Athens]
with marks printed on the leather label: [56 contemporary in terms of its high level
201]. Literature: Furniture of Classical Greece, of morphological purity. This shows
Robsjohn-Gibbings and Pullin, pg. 69, 71. how the spiritual conception could
make the design concept change.
Another one like the throne chair of
On the other hand, the immovable
King Minos from 1450 BC, from the
chairs of marble or stone: for the use of
Palace of Knossos-Crete, is of
the magistrates, they gave testimony of
extraordinary morphological simplicity.
the social rank. In the temple of
Why was this happening in certain uses
Dionysus, at the foot of the Athenian

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with the religious charge applied to a

ceremonially designed object or
artifact?
Specifically, what was it doing

that the designs with this symbolic-
ceremonial charge had a formal On the left, a sella curulis and two pairs of
cleanliness, an austerity in the bronze sellae curules legs (Naples Bourbon
Museum, vol. VI. Tav. 28); copied from the
morphological language used that
Vatican collection. Source: From William Smith
reminds us of the simplification and
- Dictionary of Greek and Roman Antiquities,
formal purity of the Modern Public domain. On the right, folding chair of the
Architecture design of the early Throne of King Dagoberto, s. VII, design
twentieth century in Europe? inspired by a curul chair. National Library of
France.
c) Jurisprudential and institutional

phase (753 BC to 133 BC): Rome.
The government of the city of

Rome corresponded to the councilors
(analogous to the current functions of
the mayors and their officials),
generally there were four: two
Modern reconstruction of the Roman curul chair.
councilors-plebs, and two councilors-
seats. These seat curules, carried a seat
curul, that was the chair of the high In the case of the King Dagobert's
Magistrate (a chair of social rank, throne chair, from the 8th century.
honorific). The famous Roman seat, France, we find the use of bronze
from where the denominations will (copper + tin alloy). And in the case of
come, for which reason the similar iron (known after copper), we have the
sidewalks will be called seats. chiselled iron scissor chair, from the
12th century (England). Both folding,
did not become massive until the late
Middle Ages.

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d) Religious phase of the first period:

Primitive (1000 to 1200): Europe.
There is a first sub-phase that

covers the year 1000 to 1150, also
called Romanesque (as this period is
known in the History of Art and
On the left, a Romanesque episcopal chair of the
Architecture), then it was transformed
11th-12th century of honor. These chairs intended
into what was called Primitive Gothic
for the nobility and the church, were decorated with
(the second sub- phase) from 1150 to Moorish influence, using carvings and polychromy,
approximately 1200. they are generally built in pine and walnut. On the
right, the chair of San Pedro is one of the most
This period was the first that was
interesting relics of the Middle Ages, the back with a
inspired by Christianity, since it was the semicircular arch is observed. The woodcut will
most complete and intense piece of show the design, which is, like other works of the
furniture in its religious characteristics. time, Byzantine, and the following description is
From where the furniture would taken from Mr. Hungerford Pollen's introduction to
the South Kensington catalog. The chair is
originate (more horizontal, than
constructed of wood, covered with carved ivory work
vertical), always wider, than high. Of and gold. The back is attached with iron. It is a
rough execution, thick and solid woods, square with solid forehead and arms. It was kept in
few worked; in short, a very robust the old St. Peter's Basilica.
piece of furniture (due to a lack of skill

In the case of the presbyter bench,
in woodworking). As an example we
the bishop's prison chair, Spanish model
give a model of Romanesque from
(Spanish Mudéjar), with a high canopy
Barcelona, which is a trunk seat, which
(ceiling) or with a semicircular arch,
was carved by removing wood
very large (almost architectural,
(although it has a carving on the back, it
although lacking the quality of the
is still rough). Of little decoration, the
Gothic); We find this infinite variety of
backs present, in some cases, the
pieces to form a furniture-church
inclusion of the semicircular arch.
building.

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e) Second phase religious phase: of The backs were adorned with

Ceremonial Solemnity (1200 to 1450): geometric figures, known as tracery,
Europe. decorated in low relief. It was tall,
vertical furniture with rectangular backs
Born in France, historians usually
whose canopies touched the sky. The
classify this phase into three periods of
furniture tried to lift man to the same
time variable according to the authors
heights of the God he proclaimed.
(depending on whether they are
historians of Art or Architecture) and
known as: primitive, full or radiant and
late flowery. Periodizations do not
matter so much here, as distinguishing
that the primitive period is what was also
called lanceolate (due to the spear shape
it presented) and was the most important
of the three sub-phases (the most solemn
and ceremonial) . Finally, the third sub-
phase was known as flamigero (because
it degenerated, the spear form, into a
On the left, a high-backed chair in carved oak
flame).
in the French Gothic style, period: 15th century.
Within this period, better known as On the right, reconstruction of a Gothic
Gothic, the greatness of the divine was cathedras chair (seat). The chair includes a
large crown style canopy (canopy) with hood
expressed, it was the strong expression
with religious carvings, family crests, and tall
of the geocentric conception, since
needles. The back of the chair includes a large
monumentality was almost exclusively central ogival carving of the noble on horseback
for the veneration of the divine. The and flanked by robed clerics. The lower part of
meaning is barbaric style, it was the chair (chest) includes intricate tracery
carvings on the bottom panel and folding linen
developed mainly in France. It was an
carvings on the sides. The seat rises to store
architectural piece of furniture, but it was
underneath for what is a chest chair (evolution
also a religious style; that is to say, that of the ark).
the ecclesiastical furniture was true
cathedrals.

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Of all the Goths, French was the Other bunker banks had a lock at
most refined and Spanish the roughest the bottom to keep personal things
and most vigorous. inside.
As Giedion describes it well, the On the other hand, vernacular

medieval furniture came from a furniture: well, ordinary people used to
monastic conception of life, the posture sit in an improvised and informal way
was neglected (since their lives were (against ecclesiastical solemnity).
based on the mortification of the flesh). Without seats, they were in contact with
The ascetic life (of Christian perfection) each other (very different from today,
of the monks was manifested in all the where if we touch the third, sitting next
furniture. to us, unless it is known, we apologize
for moving away). Thus sitting on
Now, we have two interpretations
cushions and on medieval coffers the
of the furniture of this period: monastic
act of sitting passed.
furniture and vernacular furniture.
Scissors chairs, originally from
The monastic furniture, that with
Egypt, appear.
his stoic ethics (his effort to achieve
virtue, dominating the passions of the According to Giedion, the
flesh, impassive and insensitive to what common chair, as we know it today, we
does not depend on him, but on must understand in current use (non-
providence), imposed the cathedra vernacular), would have appeared in
chairs. 1490.
There were also sidewalks, and The pivot was widely used, both
long benches. And some seats, like the in folding chairs, fascols, seats and
one in chiselled silver, which other seats. The other great introduction
represented authentic miniature was the hinge, used to produce a folding
cathedrals. Some like the drawer (like the misere seats of the choir,
armchair (chest), which were the privileged class, to be able to kneel in
combination of the ark (most important the execution of the holy office).
piece of furniture from the Middle
Ages, in the late Middle Ages) plus a
chair.

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f) Calm phase on earth (1450 until It was a court furniture, mainly

1620/88): Europe. made of oak wood. This sub-phase
presents subdivisions: Tudor (1485 to
It is divided into three sub-phases:
1558), Elizabethan (1558 to 1603),
Francisco I (1515 until 1547), Enrique
Jacobino (1603 to 1649), Chromwellian
II (1547 until 1559) and Luis XIII (1559
or Republican (1648 to 1660),
until 1643).
Restoration (1660 to 1685) and Late
Francisco I (1515 to 1547):
Jacobino (1685 to 1688) ).
Artistically very lavishly carved, with
Tudor (1485 to 1558): Also
animal ornamentation. Enrique II (1547
known as Elizabethano, it was a period
to 1559): It was a reaction movement
of transition from the spirit of
against Francisco I, against the excess
ceremonial solemnity to calm on earth.
of ornamentation, it was synthetically,
Here, the so-called Tudor bulb, is one of
more geometric. Louis XIII (1559 to
the most characteristic elements (also
1643): The most proper calm spirit, of
known as a melon bulb). Some very
transition to what is known as the Louis
heavy models (physically and visually),
XIV style (Baroque), the most
similarly to the execution of the well-
important introduction in terms of
known Gothic, in shape: «chest chair».
furniture was in the Solomonic columns
Some who lost the drawer kept the
(with helical shaft). The extremities (in
chambers low to the floor (almost
their terminations that touched the
touching it).
floor), had the typical flattened bolus
shape. With chambranas, in classical H. Elizabethan(1558 to 1603): This
Although the use of caryatids did not period of the reign of Elizabeth the
affect the chairs; yes acanthus leaves, Great, in some cases, had semicircular
bay leaves and olive leaves. arches on the back. The confused phase
(from 1830-1840) would be copied
It was a very architectural piece of
from this conception of furniture, with a
furniture and it manifested itself most
certain Baroque air in the case of the
strongly in England, it is usually known
neo-Elizabethan.
as the English Renaissance.
Jacobino (1603 to 1649): It is the
calm spirit itself, the furniture is smaller
than that of the previous period, the

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ornamentation is lightened (this sectioned and elongated bulb). The

generated greater sobriety). From here, crossbars of the legs are placed very
the so-called North American colonial low (like the Jacobin), the chambers in
style is born. The use of the classic the shape of a double C or S. The backs
acanthus leaves, palmettes, etc. It is a with the typical grid and a small upper
piece of furniture of pure joinery, it pediment, made up of carvings; On both
presents a certain rudeness when seen. sides of the backrest blade are the
One of the characteristics is its low turned bars. It is a transitional style.
floor chambranas. Carved backs,
following the tradition of the previous
period. Here we find the armchair with
a folding backrest, which can be
transformed into a table.
Chromwellian o Republican (1648

to 1660): Almost completely devoid of
ornamentation, making it more austere
and less luxurious.
Restoration (1660 to 1685): The On the left, Louis XIII style chair, dated 1843,
bases of the legs are volute, with an S- illustration by Désiré Guilmard (1819-1885), Le
bend or double-C spliced, with H-plates Garde-meuble, ancient and modern, vol. L. 64,
p. 367. On the right, drawing of a chair from the
(some have a pediment chambray,
Late Jacobin period where the melon bulb is
richly carved as the so-called Spanish
seen on its front legs (sectioned 1/3 above).
friar style, the rear legs are not vertical ,
but lean back at the bottom).
In Spain, the preferred material
One of the most important was walnut wood. The most important
features at first glance is the high chair was the friar (known in South
backrest. We present the example of the America as a mission). Of square legs
chair from the time of Jaime II (1685- almost never turned. The friar, also
1688). existed between the 16th and 17th
Late Jacobin(1685 to 1688): Here centuries, in his typical curul form
the well-known Tudor or melon bulb, is (evolved from the Roman curul). Some
divided a third above (giving a
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friars had low chambranas on the floor armchairs, the so-called footstools of
(a la Tudor or Elizabethan). the 16th century, also stools in the first
half of the 17th century in the
The rear legs are broken back (at
Elizabethan-Jacobin style, with low
the top), for greater comfort and the
chambers on the floor. Other versions
front legs are attached to a large
were similar to the Spanish friars.
chambrana of great decorative interest.
The seat and back are usually made of There were what are known as
embossed leather or a velvet cushion, sgabellos, which were stool chair
not too soft. Some friars from the 1600 benches (which introduce a formal
to 1700 period have leather backs and jump, since the legs were made up of
seats. two lateral tables, of very varied
perimeter cuts and with different
carvings. Also featured is the three-
legged pancake chair, a pioneer in its
class, with a sgabello back. The so-
called caqueteuse, from 1550, had a low
champana to the floor, in the shape of
an H and with an arrangement of the
rear legs (narrower in shoulder than the
front ones), the backrest was
rectangular, lengthened upwards. There
On the left, 17th century Spanish friar armchair,
made of walnut wood. On the right sgabello, were the so-called folding skirts, which
portable stool with backrest from the 16th were similar to seats. And finally ark
century, typical of the Italian Renaissance. banks also called cassone. Within its
variations, there are no great advantages
Between 1600-1700, walnut was in its conceptions that do not produce
replaced by ebony (extremely hard) and anything other than a formal variation.
at the end of the so-called Renaissance,
by mahogany.
In Italy, there were also versions

that were normally copies of France.
They had some versions of the scissor

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The Louis XIV (1643 to 1715)

was a powerful, sumptuous and
masculine style, properly Baroque. In
times of courtesies, grand ceremonies,
and the splendor of the court. From the
Sun King, who radiated splendor, from
this concept very sumptuous furniture
was generated; generally wider than
those of the court of Louis XIII (with
the aim of being able to house the bulky
On the left, pancake. On the right, a carved oak robes of the epoch). The King was the
caqueteuse armchair with lion heraldry. embodiment of Power on earth, taking
royalty the aspect of Divine Grace of
the Supernatural. Power, as an aesthetic
g) Court phase (1559 to 1793): Europe.
criterion. Previously the Berain style
Initiated in the Renaissance style was produced (extraordinary mixture of
of Louis XIII, it was as we said of fantastic motifs, vegetables and
transition to the so-called Baroque of animals).
Louis XIV. All of which, including
With Louis XIV, the magnitude
passing through the Regency, up to the
and sumptuousness of court life
Rococo of Louis XV and the same
provided generous patronage to artists
neoclassical style of Louis XVI.
and master craftsmen, culminating in
The five sub-phases it presents the creation of manufactures financed
are: Louis XIII (1559 to 1643), Louis and controlled by the crown; the most
XIV (1643 to 1715), Louis XIV (1643 famous was Los Gobelinos, founded in
to 1715), Regency (1715-1723), Louis 1667, where cabinetmakers and
XV (1723 to 1774), and Louis XVI goldsmiths worked. Charles le Brun
(1774 to 1793). (1619-1690), the chief cabinetmaker at
Louis XIII (1559 to 1643) was a Louis XIV's court, director of the
strong, morphologically charged and manufacturing of Los Gobelinos
heavy style, of the Renaissance- (worked with a team of artists,
Baroque transition. decorators, and engravers). With the fall

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of the absolutist system, under the double C, with a serpentine H-shaped hinge, a
volute-shaped armrest and acanthus leaves. On the
impact of the French Revolution (1789-
right, reconstruction of a Louis XIV armchair with
1799), the old surviving royal
a very decorated, and superior finish as a carved
manufactures had to adapt to pediment, serpentine X chambrana, cabriolet leg
commercial competition (while their in letter S shape with acanthus leaves on the knees.
designers ceased to be officials of the
court, to become independent
The Louis XIV style was heavy,
employees).
with a masculine curved gender (unlike
The Louis XIV furniture the Louis XV, which would be a
presented a predominance of the S or feminine curved gender or the Louis
double C curve, with cabriolet legs XVI, which would be a straight and
supported by serrated H and X plates, feminine gender). As we can see there
finished in the shape of a lion's claw, are substantial differences, while Louis
with a small simile stipe and leaves
XIII was of the straight male gender.
carved on the knee. The arms are That is why we say that the Louis XIV
supported by scrolls, profusely carved, was morphologically heavy, curved and
with the well-known acanthus and olive masculine. Indeed it is as if the chairs
leaves. The backrests usually end at the
have male and female sexual organs.
top in a carved pediment. Some padded
In this period the sofa that we did
models no longer feature chambranas
not analyze is introduced because it
(anticipating Louis XV), with a
represents more a piece of furniture for
decorative seat front. Other upholstered
semi-sitting and / or semi-reclining than
models were straight backs.
exclusively for sitting. Like the sofa,
they are a kind of sofa that has the
number of seats on the indicated back.
La marquise (marquise), which was the
duchesse of 1760, in 1800 will be
transformed into the psyche (or
American kangaroo sofa).
Regency (1715-1723): It was a
To the left, illustration of a Louis XIV armchair, heavy style, transition to Louis XV,
the cabriolet leg with the shape of the letter S or transition from Baroque to Rococo.
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Louis XV(1723 to 1774): It was a finished in volute, Fables of La Fontaine. The

legend says (in French): “Fauteuil en bois
refined and elegant style, it was
sculpté, dossier plat dit" fauteuil à la Reine "by
properly Rococó. The evolution of
style louis quinze, assou recouverte d'une
Rocaille or Rockery, with a great tapisserie de Beauvais ilustrant les Fables de La
variety of double C or S, was the typical Fontaine".
vegetable form (of a tree branch). On the right, reconstruction of a Louis XV
The ornamentation hid the joints. armchair, French Chaise Upholstered Chair in
Louis XV Style FSFI-35, its style clearly
The cabriolet leg, stretched in a stylized
represents the dynamism and movement of its
S shape is the most characteristic light, curved and very feminine morphology.
element of this style, it represents
dynamism and movement. That is why
There was a multiplication of
we say that the Louis XV was
sofas, whose varieties originate from
morphologically light, curved and very
bergeres, duchesses (reserved only to
feminine. Here the chambrana will
the nobility) and canapés; all with small
disappear, out of aesthetic necessity, as
cabriolet legs.
the main feature. Everything is the same
Louis XVI (1774 until 1793): It
as Louis XIV, but also, everything is
was an aristocratic and demure style.
more delicate and fine; making it one of
Likewise, Louis XVI was
the most resounding achievements of
morphologically light, straight and
this period. In the backrests, concavity
feminine. Belonging to the reign of
is frequent, to make them more
Louis XVI and Marie Antoinette (1755-
comfortable.
1793). The austere and symmetrical
forms, with a predominance of the
straight line; balance and proportion
(they had complicated assemblies,
which were hidden with the scenery).
The grooves in the straight legs, with
the aforementioned acanthus and bay
leaves, handled with taste and refined
sobriety, gave the conical shaft, with a
On the left, illustration of the Louis XV
armchair, carved and gilded, upholstered with
stipe ending. Much grace and elegance.
Beauvais tapestry, armrest with finished cuff

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On the left, illustration of the illustrated history On the left, voyeuse chair. On the right,
of furniture, from the earliest times to the reconstruction of the voyeuse with lyre-shaped
present day, 1893, by Litchfield, Frederick, backing (string instrument), by Lyre Back
(1850-1930). On the right, reconstruction of the “Voyeuse” chair in the manner of Georges
Louis XVI armchair. French style upholstered Jacob.
chair Louis XVI Chaise FSFI-39a.
h) Stage of the nineteenth century

This style, made in mahogany illustrated bourgeois phase (1688 to
and walnut preferably, with inlays and 1779): England.
marquetry. The backs in various forms The spirit that circulated through
(rectangular-oval), with short arms, England, of that period, was that of the
some openwork wooden backs (in the knight who did not need a title. In the
form of lattices), explained original eighteenth century, the Enlightened
drawings; as in the case of the chairs of Movement was willing to dispel the
Marie Antoinette (with her monogram). darkness of humanity -act through- the
The lyre-backed ones, called voyeuse, lights of reason. This doctrinal daughter
Fontainebleau openwork, or the so- of the Renaissance of rationalism and
called ballon (with a hot air balloon, nineteenth-century empiricism, who
raised by the Montgolfier brothers in found her ideological body in the
1783). They were all light compared to encyclopedia and breaking with the
the upholstered. metaphysical system as a form of
knowledge. Always resorting to
analytical and inductive methods, he
was optimistic.

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Four sub-phases make it up: ending (mistaken for a lion's claw).

Guillermo and María (1688 to 1702), With chambrana-type bars, in some
Reina Ana (1702 to 1715), Georgiano cases. The most characteristic
(1715 to 1810) and Chippendale (1705 chambranas was that of H. The hind
to 1779). legs were generally smooth.
Guillermo and María (1688 to Georgian(1715 to 1810): It was a

1702): In this period, the basic style, more complicated than Queen
morphology of this furniture would later Anne, influenced by Louis XIV. This
be introduced by the English colonizers style, historically, was parallel to the
in America, giving rise to the French Regency style.
appearance of the primitive American Chippendale(1705 to 1779):
colonial furniture. There is no need for more presentations
Morphologically, the chairs are of the indisputable internationality,
made up of legs in the shape of a which achieved this style. He was the
baluster (column), the use of the most genuinely English, the most
inverted cup in the finishes. The joints bourgeois, enlightened and nineteenth-
between the legs are with curved X century (who responded to this spirit).
plates. The mesh backs (not as high as
those of the English Renaissance
Restoration), where this tradition came
from, the backs in mesh.
Queen Ana(1702 to 1715): It was

a middle-class style, with simple tastes,
where the chairs had the typical violin-
shaped backrest, this being its most
outstanding feature. The front legs,
cabriolet-shaped and with a carved
motif on the knee (an acanthus leaf-like
shell), ended with the leg with an eagle
claw (which was grasping a flattened
ball). Other legs were just a stylization
of the cabriolet, best with a volute

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with a row of studs with a decorated

head). Both in its impressive Rococo
version, so overloaded and also so
balanced (perhaps one of the best
exponents, in its class). In which we
have the versions with or without H
chambranas, with straight legs (due to
On the left, a 17th century Reina Ana chair,
the period of predominance of the
with the typical violin-shaped backrest,
cabriolet front legs with an acanthus leaf-like straight line) and highly symmetrical,
motif on the knee, without chambrana. On the balanced, graceful and sober knockers;
right, Chippendale chair with a cabriolet front a game of great elaboration. Stools,
leg (same as the Queen Anne style), and
footstools and others were made.
different rear legs than the front, openwork
backrest in latticework in the voyeuse style and
upper end in pediment with late Jacobin type
tracery.
As for the materials used,

mahogany, was the chosen one par
excellence. The Chippendale armchairs,
very varied, in some cases conserved
the tradition of the Queen Anne On the left, Chippendale chair with Chinese
cabriolet front leg, with different rear motifs on the back trusses, taken from The
legs than the front ones; with a shovel Foundation Library Volume VII: The World of
with a back openwork in lattices a la Art and Beauty (Chicago, IL: The Educational
Society, 1911). On the right, reconstruction of
voyeuse and Fontainebleau (French type
the Chippendale chair.
of Marie Antoinette) and a pediment
with a late Renaissance tracery of the
The use of Chinese motifs by
late Jacobin. Other models with a
Thomas Chippendale (1718-1779) in his
notable Chinese inspiration in the
quintessentially English products made
latticework openwork back and
a new design style.
upholstered seat (fastened

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Regardless of its manufacturer, Adam(1728 to 1792): Geometry

Chippendale employs Chinese motifs manifested itself as expected,
such as fanciful Chinese figures, proportionally and delicately. Master
pagodas, dragons, temples, palaces, the straight line in the structure. On
stalls, glazing, railings, bamboo, and rectangular backs, such as oval or
bells. While many of the designs shields, with the well-known grids;
published in Chippendale's The those that were upholstered and those
Gentleman & Cabinet-Maker's Director that were not. The oval-shaped
were not original, the Chippendale backrests used to present acroteras
"Chinese Chippendale" designs inspired finished with a very sober and minimal
a completely individual style. In decoration bordering the upper central
eighteenth-century Britain, China was a leg, which fell on the shoulder of the
mysterious and distant place. backrest. The legs were conical and the
Chippendale relied on this exotic image front ones were different from the rear
for his designs. Many of the ones. Basically a balanced and prudent
representations of Chinese themes piece of furniture, in the use of the
originated in Chippendale's imagination, decoration.
rather than actual Asian objects. Early or Hepplewhite (circa 1750 until
vintage Chinese Chippendale furniture 1786): This style has a remarkable
was not made in China, but in the characteristic because its author drew
cabinetmakers' fashion shops of the the lines to sentiment (not completely
1750s in London. streamlined the process, but was carried
away organically, which did not imply
i) Stage of the nineteenth-century not being controlled). Although not for
illustrated bourgeois phase (1st that reason, his designs were devoid of
neoclassical stage) (1728 to 1806): geometry, quite the contrary, they were
England. Contemporary phase to the geometric.
Industrial Revolution.
Regarding the morphology, we
The sub-phases are: Adam (1728 can say that the legs existed in two
to 1792), Hepplewhite (circa 1750 to forms, the straight and cabriolet
1786), and Sheraton (1750 to 1806). (stylized); in the straight cases they
were of conical shaft, ending in stipe.

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The hind legs were different from the Sheraton (1750 to 1806): Idem
front and were always curved outwards Hepplewhite, but with rectangular backs
at the lower ends. There were H and with two types of padded backs and
chambers, like armchairs without without them.
crossbars. Only the backs, which were
oval in heart (the most important, j) Conquest phase (2nd neoclassical
among other forms of shields) were stage) (1793 to 1815): France.
decorated with vegetable stalls, forming
It had two sub-phases, the one
some species of radial suns. Some
prior to the Empire style, one called the
backrests used to have Hepplewhite
Directory (1793 until 1799) and the
humps. Among the most recognized
other called the Empire itself (1799
lattices are the so-called Prince of
until 1815):
Wales (because on the back, the three
symbolic ostrich feathers appear), or the directory (1793 to 1799): This
so-called Wheat ears (since ears was a style of transition to the Empire,
appeared, instead of feathers). it belongs to what we have decided to

call as 2nd neoclassical stage.
Morphologically, the seats were

made of wood carved with Egyptian
motifs, the conical and bronze legs,
known as the old one; the front legs
used to be different from the hind legs.
The backs in the form of a volute (idea
started in Louis XVI), were generally
wide, others of concave shape were
called a gondola. With a mixture of
shovels-knockers, which make us think
of England in the 18th century, due to
On the left, modern reconstruction of the
its certain prudent control of the
Hepplewhite chair. On the right, modern
reconstruction of the Sheraton chair. decorative elements. Basically the
furniture is not as fine as Louis XVI,
nor as heavy as the Empire.

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Empire(1799 to 1815): On Roman X-shaped chairs were

November 10, 1799, Napoleon I used extensively, with Napoleon's
Bonaparte (1769-1821) overthrew the iconic sabers as well as military drum
Directory by means of a coup d'etat and stools. Basically, the arms of the
a new history began to run. This is the armchairs are supported by the fabulous
3rd neoclassical stadium, a style that animal figures, which was a recurring
was the product of military victories, theme. The woods most used were
which is considered masculine, is mahogany, ebony and fruit trees.
copied from Roman and Egyptian Art.
It featured Doric and Corinthian
k) Conservative, confused and eclectic
columns, with capitals and bronze
phase (1820-1900): Europe.
bases, the rear legs curving outwards.
This phase, also known as the
The well-known acanthus leaves are
Second Empire, sought a representative
repeated along with ferns, palmettes,
style and the only thing it generated was
Roman imperial eagles, swans, oval
a great eclectic profusion of furniture.
decorative themes, etc. Laurel wreaths
The wood was highly curved,
were used, as in Greek temples, but
excessively carved and ornate, and of
symbols were devalued by overuse. The
poor proportions. When he lost his way,
laurel, will be the brand of the Empire
he desperately looked for a way out and
style (with its most prominent element,
found it in a lot of styles such as:
the initial N trimmed in a laurel wreath,
Troubadour, Restauración, Victoriano,
Pre-Raphaelismo, Trafalgar, Isabelino,
Luis XVIII, Carlos X, NeoLuises XIV,
XV y XVI, etc.
Which is why it becomes

frustrating to illustrate this period of
history. The man of this period would
On the left, a Directory chair with curved back and verify in England the irruption of the
front legs with a straight truncated cone. On the mechanical over the organic, since he
right, the appearance of the Roman imperial eagle
had completed the Industrial Revolution
and the bay leaf as a golden symbol of the style of
and the new world was underway.
the Empire chair.

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l) Rational and imaginative phase (1830 Thonet No. 14(1853). But one
until an unknown date): Vienna. should not make the mistake of
supposing that Art has not had
Thonet's factories (which were
influences in the incipiently industrial
established in Vienna, where he
Design, since No. 14 was of rational
patented his experiments started in
design (it was not rationalist) and many
1830).
of its models were highly decorative.
In 1853 he set up his company,
They applied a rational use of
bending the beech wood under steam
decoration with a perfect balance
pressure and screwing the parts together
between decoration and function.
later in the assembly process.
Thonet chairs mark the beginning of a
Eliminates problems related to the need
rational and imaginative phase.
for drilling and assembling, as in the
USA Windsor chair. (which in 1800
was adapted to mass production, it
consisted of separate parts, most of
which were easy to manufacture with
simple lathes and the simplicity of the
On the left (in color), image of the Thonet chair
shape did not complicate its production,
# 14, manufactured in 1859. De
difficulties arose when assembling the
Holger.Ellgaard - Own work, CC BY-SA 3.0.
parts , since the drilling of the holes and On the right (in black and white), pictures of
the assembly was a highly specialized Michael Thonet's Bentwood chairs, 1850. Own
task); This simplicity of assembly made work - Abbildungen aus Michael Thonet. Wien
1896. Scanvorlage: Sigried Gideon: Die
it possible to manufacture chairs in
Herrschaft der Mechanisierung. Frankfurt aM
large quantities at a low price.
1982.
Although chair No. 14 by Michael

Thonet (1796-1871), an icon of Between 1895 and 1920 in the
Industrial Design. USA Functionalist austerity continues -
The Bibliography of History of typical of Thonet chairs - and the
Industrial Design marks the famous appropriate socio-cultural conditions are
chair as the starting date for the design created for the establishment of a
of chairs in an industrialized way: general trend of the time towards
productivism, formal cleanliness,
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product functionality, mass production dissimilar ends), will converge in

by mechanical means. What on the creating the appropriate socio-cultural
other hand we could define as a conditions to establish a general trend of
bourgeois inventive stage between 1850 the time towards productivism, formal
and 1940. In the USA Between 1850 cleaning, product functionality,
and 1935, the Protestant ethic was also production in series by mechanical
influential in formal cleanliness and means; specifically in furniture design
austerity in achieving standard type we can identify it by the following sub-
chairs. phases that we will call: the bourgeois
inventive stage (1850 to 1940), the
ascetic stage of Protestant rigor (1850 to
1935) and the aesthetic-mechanistic
stage (1895 to 1920):
Bourgeois inventive stage(1850 to

1940): Patented furniture, sourced from
Michael Thonet revolutionized mass industrial anonymous inventors, has a long line of
production with the design of his chairs and made models. As early as 1826, there was a
chair No. 14 the best-selling chair until 1930 with British patent, to prevent seasickness.
50 million copies: who hasn't seen this chair in
Between 1850 and 1893 USA He will
magazines, houses or coffee shops around the
world ? Number 14 is made of six pieces of steam
have a large profusion of patents,
bent wood, ten screws, and two nuts. The wooden between 1850 and 1940 a series of
parts were made with beech wood slats heated to sewing machine chairs (based on
100 ° C, pressed in cast iron molds and left to dry scientific principles to avoid many
at a temperature of around 70 ° C for 20 hours.
posture ailments), typewriter, surgical,
The chairs can be mass produced by unskilled
workers and disassembled to save space during
dental, barber and dental-hydraulic
transportation (as shown on the right of the chairs. Adaptable to physiology, all of
image). them went along with the reclining seats
of the railroads (the pullman is the
survivor of that long history). The
m) Austere functionalist phase (1895 to
railway carriage in Europe was built on
1920): USA.
the principle that the masses deserved
From here on, a series of little consideration (more than 80% of
divergent sub-phases (motivated by
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commuters sat huddled on rough ethical and spiritual principles of the

wooden benches), early Christians where everything
belonged to the community), they
imposed the same demands on their
furniture that governed their religious
life with great quality and austerity.
Furniture was improved with the aim of
increasing its usefulness and durability,
creating standard types.
Aesthetic-mechanistic stage(1895
On the left, an old barber's chair. On the right, to 1920): The American system was
an old dental chair. causing great changes. Frank lloyd
Wright (1867-1959), a disciple of the
Architect Louis Sullivan (1856-1924),
In U.S.A. from 1830/1860 there
accepted decoration organically with
was only one class of traveler (except
function.
blacks and later immigrants), which
revealed the reflection of the democratic In 1895 Wright was interested in
current of the time. Arts & Crafts and handicrafts, so
Wright realizes that straight lines could
In 1888, the barber chair was
be better accomplished with machines
applied to the carriages of the saloon car
than manually. In 1901, at a Chicago
intended for the more affluent
conference: "The art and trade of the
passengers. The Wilson chair from
machine", he is determined to use the
1871, its mobility was taken from the
machine (anticipating the dogmas of the
invalid chair, it achieved its comfort
Modern Movement of 1920).
with a simple construction.
Ascetic stage of Protestant

rigor(1850 to 1935): The religious
community of French and English
(Shakers), who settled in the USA. from
1775, with reduced means of
production. They produced simple and
functional furniture (based on the
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William Morris(1834-1896) had

studied painting with The PreRaphaelite
Brotherhood (pre-Raphaelites), an anti-
capitalist society that adopted the neo-
Gothic in the period from 1848 to 1854.
They were artisans who achieved the
technique by practicing and not
On the left, Shaker rocking chair nº 7 from
1878-1910. On the right, modern reconstruction studying, this is the central idea that
of Shaker chair nº 131. influences Morris and matures
influenced by Ruskin's ideas; which
n) Romantic phase (1850 to 1900): incorporates the socialist commitment
England. and tries to unite art and work (here

work is associated with crafts). But his
Two sub-phases existed: first
craftsmanship would be elitist,
stage of the romantic phase (1850 to
paradoxically, when he founded the
1900) and second stage of the romantic
Morris Marshall & Faulkner Co. in
phase (1882 to 1890).
1861, synthetically known as: Morris &
First stage of the romantic Co where he produced objects that
phase(1850 to 1900): in Victorian would be expensive, due to the high
England it varied between the artisanal labor that his work consumed,
From 1837 to 1900, Arts & Crafts broke thus generating only objects for the
out from 1850, at the hands of the writer wealthy class who could buy them.
John Ruskin (1819-1900), who by His anti-capitalism was
blaming the division of labor as the manifested by the ugliness of the
cause of separating the worker from his products (of inferior quality), which had
work proclaimed a return to the artisan been evidenced in the 1851 exhibition at
communities of the Middle Ages. The the Palacio de Cristal. Against this
Gothic Revival (neo-Gothic), and his confusion of the first stage of the
romantic enthusiasm for artisan work Industrial Revolution, the Arts and
was the symbol that hit the Crystal Crafts Movement reacted; with a
Palace, built at that time in an extremely unified quality work in the artisan and
short time; that on the other hand, the old Gothic learning systems.
Ruskin so hated.
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Second stage of the romantic Sussex chairs were used by

phase(1882 to 1890): The so-called William Morris and his wife, Jane, in
Community of the Century was the their first home, Red House,
second phase of Arts & Crafts and link Bexleyheath, Kent, from 1860 and later
with Art Nouveau. Between 1882 and at their London home, Kelmscott
1888 five artisan associations were House, Hammersmith. Morris's great
founded that we will omit to name. friend, artist Edward Burne-Jones
Examples include the Mackmurdo chair (1833-1898) had Sussex armchairs in
whose asymmetric-naturalistic language his study, as did sculptor Alfred Gilbert
is opposed to the symmetrical- (1854-1934). Robert Edis recommended
naturalistic language of Morris' Sussex this chair as excellent, comfortable, and
chair. artistic in his influential book
Decorating and Furnishing Village
Houses (1881).
ñ) Rational, lucrative-bourgeois phase,

of acceptance of the machine and of the
elitist aesthetic culture (1890 to 1914):
Europe.
From the 20th century on, unique
On the left, Mackmurdo chair of the Community of

pieces within different paradigms
the Century. On the right, Arts & Crafts chair (where each paradigm will belong to a
William Morris & Co. Sussex chair (circa 1880), different designer) will be the key to the
The Morris chair is constructed of stained beech new century of design that would begin
and features its original spiky seat, spindles finely
with the famous Art Nouveau. Where
rotated through the splat and the characteristic
hanging support stretcher . This chair is named
many chairs are interesting more for the
after a country chair found in Sussex, which intellectual criteria, than for how
inspired the design with the rotated frame and comfortable they were (as would
quick seat. Similar types of chairs, with imitation happen later with the Modern
bamboo frames and quick seats, were in fashion
Movement in Architecture and furniture
between 1790 and 1820.
design). Modernism represented the
break with the given historicism
(rejection of the styles of the past). It
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was elitist, its ornamental style is part of Glasgow Style(undated): This so-
the function (the ornamentation is not called style known as The Four Mac's of
added), but fused to the structure. This Scotland. It was of a symmetrical-
cosmopolitan, urban, bourgeois style, functional language, this means that it
unlike Arts & Crafts: it accepts the developed a more geometric
machine and is basically asymmetric composition; It also represented the
(although it has exceptions to the rule). phase of transition to a rectilinear Art
Nouveau with a symmetrical fluidity,
The different sub-phases that this
with geometric curves as the oval grids
period presented are: Art Nouveau (1890
of Charles Rennie Mackintosh (1868-
to 1914), Modernism (1890 to 1905),
1928) demonstrate.
Glasgow Style (undated), Jugendstil
(1895 to 1910), Sezessionsstil (undated): Jugendstil(1895 to 1910): Typical
of Germany, it was a style of transition
Art nouveau(1890 to 1914): It was
to functionalism. He represented the
a so-called style, which prevailed until
bourgeois ideal of a refined culture, and
the 1st World War in France and
of the neve schlichkeit (new
Belgium, it represented the most
objectivity). It was an art for private
naturalistic aspect. His leitmotiv was
patrons and artists (the artist designer is
asymmetric organicity, he tried to
his typical model), this privilege of the
express the new, in a language of the
aristocracy and nobility, refined style of
old. He did not add a superficial
an elite, that is economically
decoration (rather, this decoration was
legitimized, found designers of the
fused in the very structure of the
stature of Peter Behrens (1868-1940)
productions). The so famous decorative
and Richard Riemerschmid (1868-
flowers were taken from The
1957). The Deutsche Werkstätte (Craft
Community of the Century. With artists,
Workshops) had already originated in
decorators, designers such as: Gaillard
Germany, but with the Deutsche
and Henry Van de Velde (1863-1957),
Werkbund (German Craft Association)
whose symmetrical-naturalistic (fluent)
from 1907 to 1932, which came to
language was similar to the Spanish
represent rationalism in form (against
version of Modernism.
rationalism in North American
Modernism (1890 to 1905):
processes); it did not mean the lack of
Spanish version of Art Nouveau.

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the ornaments, but their rational use.

The Werkbund, I wanted to forge a
unity between the artist, the craftsman
and the industry; to elevate the
functional and aesthetic qualities of
mass production (something like the
best forces of art and industry with the
quality of artisan work). Simplicity and On the left, chair designed by Eugene Gaillard
(1862-1933) working for L'Art Nouveau Bing in
accuracy as a functional demand for the
Paris. On the right, chair designed by Henry van de
efficiency of the industry thus came to
Velde 1895 for the dining room of the
conform in this suprastructural “Bloemenwerf” house. Manufactured by Societe van
institution, a leading opinion or director de Velde, Ixelles, Belgium. Exhibition at the
of public opinion, grouping traditional Pinakothek der Moderne, München.
(artisan) and Vanguard (Art) principles

and an elitist and messianic Sezessionsstil(undated): The
consciousness . German Design did not separatism you come from, typical of
conquer the world market, but was Vienna and Austria (was the link
theoretically committed. They formed between Art Nouveau and Rationalism),
the Werkbund ideology: the bourgeois emphasizing mathematical construction
lucrative spirit, plus messianic with a two-dimensional geometry that
aesthetics and cultural aspirations; anticipates Cubism; so well interpreted
around 1914, it will acquire an in Josef Hoffman (1870-1956), known
international character by joining Art as "right angle Hoffman", who founded
and Technique, time of the famous in 1903 the Wiener Werkstätte
debate between Henry Van de Velde (Workshops in Vienna) spiritual
(1863-1957) and Hermann Muthesius continuation of Morris' work. The
(1861-1927). The Werkbund Sezessionsstil demanded functional
materialized in the International Style, simplicity without decoration (it was
which was around 1914 accomplished. more geometric than the Jugendstil).

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p) Formal expressionist technical phase

of the Bauhaus (1919 to 1928): Europe.
This phase corresponded to the

Gropius Era, as director of the Bauhaus
in Weimar, from: 1919 to 1924 and as
1st Director of the Bauhaus in Dessau
from: 1925 to 1928.
In this technical and formal

expressionist period, the famous chair
On the left, Hill House chair of protomodernism
by Gerrit Rietveld (1888-1964) Red and
by Charles Rennie Mackintosh (1868-1928). On
the right, the 1904 chair by Josef Hoffmann
Blue was produced (where the aesthetic
(1870-1956), present at the Museum of Modern function was more taken care of). We
Art in New York, with its high back reminds us must consider that Rietveld, applied the
of Mackintosh's chairs.
productive artistic theory (aesthetic
synthesis, approaches the machine, in
o) Normative, instrumental, vindictive, its aesthetic sense rather than practical)
puritanical, universalist, a historical, to his designs and in 1918, inspired by
scientific, messianic, stoic, ascetic, the De Stijl aesthetic, produced the red-
secular, Newtonian, Cartesian, blue chair (inspired in
Socratic, Platonic, classical phase

(1914/1920 to the present): Europe and
Piet Mondrian's paintings (1872-1944),
America.
where the orthogonal lines intersected,
It will give rise to the following redundancy is worth a cross). Although
sub-phases: Bauhaus formal the structural simplicity approached the
expressionist technical phase (1919 to possibility of series production, the red-
1928) and Bauhaus technical blue remained an exclusive (almost
productivist phase (1928 to 1930), both cult) object; it was not mass-produced.
in Europe. Thus the purist aesthetics of the
Neoplastic movement, due to its
reduction to colors and pure geometric
forms, was an ideological manifesto.

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q) Bauhaus productivist technical phase

(1928 to 1930): Europe.
This phase corresponded to the

Meyer Era (which was of socialist
ideology, which helps us to understand
its material-productive), as director of
On the left, Red and Blue chair by Gerrit
the Bauhaus in Dessau, from: 1928 to
Rietveld. On the right, a composition in red,
1930. It was a realistic stage linked to
yellow, blue, black and white from 1921 by the
plastic artist Piet Mondrian (1872-1944). industrial companies; followed by the
phase of the Van der Rohe Era (which
was more spiritualistic than Meyer, for
This chair, expressing the various
what we consider its technical-artistic
planes that make up a sitting object, to
spirit), which continued as director of
make it visually clearer then,
the Bauhaus in Dessau, from 1930 to
exaggerated all the intersection points
1932 (when it was closed by the Nazis,
and painted the planes in contrasting
considering them cultural Bolsheviks).
colors (where placed on a black wall the
legs disappeared and literally floated). Within this period called as
Bolted intersecting joints and plywood technical-productivist, the chair of
planes, like the chipboard, are constant Marcel Breuer (1902-1981) called
and homogeneous, standardized "Wassily" was produced (where the
materials; very different from natural practical function was more attended
wood, with fluctuations in thickness, to). The steel tube, in the manufacture
knots, etc. of these chairs, has a history that
historically we can synthesize as three
Thus, when the furniture is
(3) stages:
subjected to a dissection of its elements,
it acquires the category of abstract Gaudillot's stage (1) in 1844:
sculpture, making it more a work of art France, introduce the chair of gas and
than a designed object (a Mondrian water pipes with metal painted in the
painting in three dimensions). shape of imitation wood and grain.
Mart Stam Stage (2) (1899-1986)

in 1926: he introduces the new
paradigm (for which he is considered
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the intellectual father of this

"cantilever" concept, 1st chair flown, on
two legs, which when it reaches the
ground is joined in endless. Sure, it was
made with gas tubes (copy of the
Gaudillot), but without painting (let's
clarify that the tubes, to be bent, were On the left, cantilever chair by Mart Stam. On
the right, the cantilever Cesca chair from 1928
reinforced inside with sand).
by Marcel Breuer, presents a debate on who
Stage (3) of Marcel Breuer in was its author (depending on the books and
1925-1926: it makes the chair that authors): Gaudillot, Mart Stam, Marcel Breuer
mixes the elasticity of the chair by or Ludwig Mies van der Rohe?
Ludwig Mies van der Rohe (1886-

1969), plus the cantilevered concept of
Mart Stam (giving the same response to
the seat and the backrest).
The Wassily saddle, with leather

straps, chrome, symbol of the technique
itself (it seems to have been inspired by
On the left, Weissenhof chair from 1927 Ludwig
the handlebars of a bicycle, an idea that Mies van der Rohe. On the right, the Wassily
is widely spread by various authors and chair, also known as the Model B3, was
confirmed by Giedion). It weighs little, designed by Marcel Breuer in 1925-26 while he

was director of the cabinetmaking workshop at
uses machine-made materials, and
the Bauhaus in Dessau, Germany.
contains no embellishment; its structure
in bent and chromed metal tube (where
r) Soviet deficit infrastructural phase of
a bare leather is stretched to form the
the Vkhutemas (1920 to 1924): exURSS.
seat, backrest and arms). Its beauty lies
in not being handmade, when it was It was parallel to the Bauhaus, it
projected it did not look like any chair was formed under Russian
that anyone had ever seen. It is a seat in Constructivism. These State Workshops
which you cannot comfortably stay of Higher Education of Art and
more than thirty minutes. Technique were opposed to the Easel
Art Teaching, working with

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standardization and interchangeability. capitalism). As for form, he was

Both Vkhutemas and Bauhaus proposed opposed to American styling; It was
the fusion of Art with crafts; but the then the gute form, the version of
most important problem of the American good design (which had been
manifestation of this spirit in the ex- born as a result of the Bauhaus
USSR was the lack of industry. It was exhibition of the aesthetic machine, at
closed by Iósif Stalin (1878-1953). the Museum of Modern Art in New
York).
s) ULM competitive quality phase (1955 Exchange-value, as a commodity,

to 1968): Germany. was more important than use-value; It
We do not have examples of was the expression of the quality of a
furniture but we quote it due to its product, of the material and its
historical importance. The so-called functionality with a great finish or finish
HFG (Hochschule Für Gestaltung) of of the products. It refers to the high use
the ULM, Germany; o HFG-ULM, value, and its competitive capacity in
successor institution to the Bauhaus, the market at an economic level
was of a radical contradiction regarding (exchange value); that it was nothing
styling (in terms of form). other than the legitimation of economic
Originally the Higher School of power (for what quality and
Design, it was considered by Max Bill competitiveness, supported by
(1908-1994) as a continuation of the propaganda, for the cultural value of the
Bauhaus, but it was not. He is known gute forme; it was a motto used for its
for his quest for scientific decisions. lucrative purposes, which became an
Then, Tomás Maldonado (1922-2018), elitist pretext and not social, generating
Argentine who will influence the study a kind of merit in consumption).
plans of the whole world. This Braun Aesthetics and culture were the
style, or the gute form, was the German concealing instruments, legitimizing
version of styling, in terms of this production practice that hid an
capitalism, but not in terms of form (we elitist ideology of the most exquisite
can say that while styling was the Ulmer Stil.
version of popular capitalism, the gute

form was the version of the elitist

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t) Art Deco popular decorative

functional phase (1918 to 1939):
Europe and America.
It was geometric, popular from

the 20's, where De Stijl, Constructivism,
Cubism, Suprematism were mixed,
inspired by Egyptian culture (made
fashionable by the discovery of
Tutankhamun's tomb), all of which
added to the geometric elements of
Mesoamerican cultures: Mayas, Aztecs,
Incaicas and the Functionalist Current
Modern reconstruction of an Art Deco style
that shook the International Movement.
chair.
Many authors often identify this period
as the desire to interpret the Modern era
u) Use and pull phase of satisfying
of machines with decoration (which in
short-term needs and hedonistic
my opinion was the first design that
pleasure Pop (1960 to 1970): USA. and
brought us closer to a Postmodernism in
Europe.
its exoticism from the past). The
straight lines materialized in the zig-zag It began to take shape around
of the indigenous motifs, of the Aztec 1950, in parallel with the development
pyramids, etc. All whose geometry, of transformable materials such as
polyurethane and its different densities.
Everything that Ezio Manzini calls the
comfort of the morbid (fluffy). For
example, the inflatable armchair from
1967 called Blow, the amorphous chair
from 1968 called Saco and the
anthropomorphic chair from 1969 that
was born when the pack was opened
called Up.

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In the 50s, Pop, in the USA and manufactured in limited series;

Great Britain, it will challenge the Ironizing the line of classical thought of
intellectual canon of the Vanguard and the Modern Movement. Where
the low theoretical and formal ornamentation takes on meaning, being
restrictions will become important. expressive, fun, dominating technology,
Functionalism didn't have to say in mass attending to the symbolic and the
Pop culture. traditional, breaking the rules (whereas
the products of the Modern Movement
had axes of symmetry for their
manufacture; Postmodern products
break with symmetry).
The designers Philippe Starck,

carried out projects where he combines
different materials with a different
On the left, Blow inflatable armchair made in 1972 treatment. He achieved popular fame
in inflated PVC plastic, by the Italian authors: Paolo
when French President François
Lomazzi, Donato D'Urbino, Jonathan De Pas. On
Mitterrand (1916-1996) commissioned
the right, Sacco chair is a seat designed in 1968 by
Piero Gatti (1940-2017), Cesare Paolini (1937- him to design the furniture for his
1983) and Franco Teodoro (1939-2005) and private apartment in the Elisha Palace
produced by Zanotta, in Milan, from that same year and the well-known Café Costes.
until Present. It is one of the most relevant industrial
Others, such as the Architect Robert
design products of the 20th century. It is generally
Venturi (1925-2018), also carried out
built with a vinyl sack filled with semi-expanded
polystyrene pellets. their exercises (their synthesis of ideas,
which led to exemplary products such
as chairs); We said that Venturi
v) Ephemeral phase and the eclectic
designed a line of bentwood plywood
show of materials, shapes and colors as
chairs (alluding to Alvar Aalto (1898-
a source of Postmodern aesthetic
1976), in the treatment of plywood),
pleasure (1965 to the present day): The
with applied screen printing - typical of
world.
the colors of Memphis and the screen
In the 1980s in Industrial Design,
prints of Andy Warhol (1928-1987 ) -
exclusive programs were carried out by
and that it was close to the 18th century
hand, unique pieces that were
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designs of Adam and Chippendale None of the design elements of

(takes up the story). this chair fit logically or consistently.
They all contradict each other.
The collection was designed by

Robert Venturi, an architect universally
known as one of the fathers of
postmodern design. Its great authority
derives from the book Complexity and
Contradiction in Architecture (1966), a
On the left, Sedia Sheraton chair (model 664) critique of the limits of Modernism and a
from 1979/83 made by Robert Venturi and call for a holistic approach to design.
Denise Scott Brown for Knoll International Inc.
The structure material is laminated plywood,
In these chairs, Venturi has
the same used for chairs from the 1940s and materialized many of the ideas
1950s The shape of the chair seen from the front investigated in his architectural works
suggests, like a cut out of a cartoon, the profile
and in his writings: the importance of
of a late eighteenth century Sheraton chair. The
his collection lies in being a challenge
surfaces are decorated with a colored floral
motif reminiscent of later coatings, covered in
to the dogmatism of the Modern
turn by a black geometric motif that resembles Movement.
Pop graphic art from the 1960s. On the right,
The stages are: the artisan,
Philippe Starck's 2002 Louis Gost (ghost chair
mystical, primitive anti-design or
for Kartell) transparent polycarbonate chair,
radical design (1965 to 1971), Memphis
(1981 onwards), Alchymia (1976
Robert Venturi's Sheraton Sedia onwards), Pentagram and Forum Design
Chair undermines all the rules of Linz (1980 onwards).
modern design. Well, if in most of the
Artisan, mystical, primitive of
seats designed according to a modernist
anti-design or radical design (1965 to
language they focus on the integration
1971): In Italy, after World War II,
of matter, shape, surface and structure.
groups such as: 9999, SuperStudio,
In this case, the elements contrast rather
Strum, Archizoom and others; where for
than integrate. The chair rejects the
example Archizoom was influenced by
ideology of the Modern Movement in
Archigram's British Pop. This attitude
Architecture and furniture design.
received influences from Pop Art and
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Primitive Cultures and its symbolic With inspiration from diverse

mystical influence, where designers cultural contexts and that could
developed their work without the represent any continent playing with the
mediation of big industry (turning their meaning of products (we can call this
eyes again to style and craft authentic Internationalism. Productive
conception). This was assimilated by Postmodernity, now allowed everything
Ettore Sottsass (1917-2007). to be possible and not something
imposed from outside.
Memphis (1981 onwards):
Founded from the title of a Bob Dylan Alchymia (1976 onwards):
record (Memphis blues). With several Founded by Alessandro Guerriero,
members, it had the prestigious Ettore among others it was integrated by the
Sottsass. famous Ettore Sottsass; together with
Alesandro Mendini (1931-2019) who
His designs to be produced by
proposed the replacement of the rational
modest artisan workshops. Thus it was
method for the romantic one, given that
that Sottsass took away from the
there had to be more than the minimal
geometric forms their intellectual rigor
expense of materials and functionalism,
(mathematical if you like) and returned
so attended by the Modern Movement.
their primitive meaning as symbols);
Also with strong declarations to
Sottsass being influenced by American
mysticism, the products based on
Pop and radical design, the Indian
collages tried to make people reflect on
mysticism of primitive cultures,
them.
together with a deliberate appreciation
of bad taste (kitsch). Defying the years When Mendini creates his series
of serious functionalism, with humor, metamorphosis of the classics
irony, certain elements whose only (influenced by Dadaism) he evidences
function is total uselessness or causing a this collage; We give an example of
smile. With a strong influence of radical these chairs: he covered the Plastic chair
or anti-design design, the Memphis by Joe Colombo (1930-1971) with
Group, without forming utopias or a marble drawings, he filled the Hill
critical attitude; take advantage of it by House chair at Mackintosh with
making the environment where objects pennants, he converted the Zig-Zag
coexist more bearable. chair by Rietveld into the Backed on a

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cross, Thonet's No. 14 chairs and as dogmatic as a religion. The cross may even
refer to church pews, which are explicitly designed
Breuer's Wassily chair were decorated
to sit uncomfortably, further challenging the lack
with multi-colored clouds and Athenian
of comfort in the modernist ideal.
figures.
Pentagram and Forum Design

Linz (1980 onwards): In England, with
Pentagram, they will laugh at the
Bauhaus and its functionalist postulates
that generated the abstract forms of a
On the left, the Wassily chair designed by common and geometric language. Also
Marcel Breuer in 1925/26, faithful in Austria the Forum worked with the
representative of the Modern Movement in playful symbology, creating for
Architecture and furniture design. On the right,
example the famous Marilyn chair.
the postmodern reinterpretation of the same
camouflaged Wassily chair (very similar to the
clothing of the military forces of a Nation),
made by Alessandro Mendini in 1978. Conclusions.
First, a few brief words about

what Modernity meant.
We know that Modernity was a

global philosophical, ideological and
political project that had not been
achieved until the 18th century. With
the Enlightenment, the common
On the left, the Zig Zag chair by Gerrit Rietveld
ideology of arriving at human happiness
designed in 1934. It is a minimalist design without
legs, made with 4 wooden tables that are joined and freedom is born from the project,
with dovetail assemblies. It was designed for the based on the domain of nature through
Rietveld Schröder House in Rietveld, Utrecht, and reason. This reason centered on the
is now produced by the Italian manufacturer
subject that pretends to be the center of
Cassina SpA. On the right, chair"Redesigning the
the world.
modern movement”by Alessandro Mendini from
1978. Incorporation into Rietveld's classic Zig-Zag Creation will use the rationality
chair transforms it into a symbol of a design ideal applied to science and technique, to

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realize its domain project. The history Frank Lloyd Wright and his austere-
whose movement would always be functionalist spirit) was the
understood as evolution towards better development of a domination-normative
and higher stages; the universality of (reason-instrumental) discourse, with a
reason over the cultural singularities of discursive-justification (which was
peoples (through industrial production) culturally legitimized in avant-garde
radically changed the productive aesthetics and in a technical discourse
epistemology. based on scientific rationalism), its
analytic-Cartesian method (division into
Let us remember that the Modern
parts) and its ascetic morphological
Movement in Architecture and furniture
justification (pure forms devoid of
design, as a manifestation of Modernity
ornament) , his Puritan ethic (Protestant
(philosophical, ideological and
morality of what is correct, associated
political), exploded with the Industrial
with work and never with leisure, which
Revolution that as a physical
generated an aesthetic of formal
(technological) means made possible
cleanliness, product of a morality of the
the materialization from this way of
purity of the body).
thinking the world and life . Whose
intense spirit of Puritanism had In the austerity of the forms it had
penetrated and gave English middle- the following implicit ideology:
class society the moral strength to carry Socratic (hyper-functionalists, where
out the vast material work of the beauty = utility), Platonic (morphology
Industrial Revolution. based on an ideal of the geometric
form), Newtonian (mechanical),
The cut made by Modernity to the
Cartesian (rationalist), universalist (anti
romantic, mystical-religious,
-regionalist), anti-historical (deniers of
expressionist came to conform the cut
the past), technologically scientific
made to the spirit of the Romantic
(physical-mathematics), messianic
Movement of 1800 in Germany, France
(savior of humanity's project) and
and England.
democratic (for all of society).
The Modern Movement in
We can play with the idea of
Architecture and furniture design or
Purism, contributed by Le Corbusier,
International Style, with its aesthetic-
and paraphrase saying that the chair is
mechanistic (which makes us think of

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like a sitting machine (those who constructions that ordered aesthetics

understand architecture will understand under mathematical criteria and refined
what this paraphrase refers to). the forms into a total geometric
abstraction. Mechanist (term coined by
We can say that the spirit of the
Theo Van Doesburg) celebrated rational
Vanguards (purism among others such
control of the creative process in a style
as Cubism, Futurism, Dadaism,
of basic shapes and pure colors, which
Suprematism and Constructivism)
the well-known Bauhaus would use.
tinged with a certain democratic-
socialism (such as Constructivism and This meant the manifestation of
Dadaism that were anti-bourgeois), the cult of abstract reason, and the
implies going against the social order mathematical order of the universe of
imposed by reality from outside; now material productions (objects).
with the Vanguards there was an On the other hand, postmodernism
increase in their own chaos (imposed
fundamentally meant the crisis of
from within, from the mind and its Cartesian rationality, of the exhaustion
structure of abstract thought). Also with of the nineteenth-century discourse, of
objective (scientific) bases and with an the totalizing and unifying theories of
idealistic philosophical tradition that
interests (known as legitimizing meta-
took root in a reality beyond the outside stories); where skepticism triumphed
world. over logocentrism. The contradictions
By rearranging the representation of the modern episteme (knowledge and
with the criterion of the machine, due to criteria of truth) are denounced,
the passion for the era of the factories of rejecting the Cartesian logic and the
the English Industrial Revolution abuses that were committed in the name
(present in the origins of the steam of truth and reason. Objectivity was
engine); with his intentions to destroy replaced by disbelief.
the cult of the past (that is, rejecting all French post-structuralist
tradition). This mechanical aesthetics intellectual philosophers, such as
thus generated, totally devoid of Michael Foucault (1926-1984) and
ornaments, austere and with Jean-François Lyotard (1924-1998), are
accentuation of the use value, would authors who debate on this very
become a functional style (of abstract contradictory subject that

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Postmodernism means. It is Lyotard, entire history of architecture and the

critic of enlightened reason, who speaks Applied Arts was there to be used. But
of contradiction as an innovative source Tomás Maldonado, analyzes the
of pluralism, the transitory and the situation in Las Vegas, and says that it
immeasurable. Thus prevail the world is presented as the most important
views of many cultures, the environmental creation of popular
interpretations without central culture, with illuminated signs (which
coordination, the multiplicity of local he calls signs, and they are neon signs,
rationalities (ethnic, sexual, religious symbols that dominate the space). This
minorities, etc.). There is no unification, is Las Vegas, for Maldonado, icon of
but fragmentation (fragmentation popular taste, means an environmental
against the whole), emphasizing the communicative consumerism.
regional, the local, the particular. The Postmodern Movement
Invoking plurality, difference, changed the steel and glass boxes for a
heterogeneity, hybridization. return to ornament, symbolism, ironic,
By breaking the relationship playful and eclectic play. In
between design and science, and the Architecture, it was only in the 1970s
absence of common goals, design has that it became widespread in the US,
no future, designing here and now (a such as: the AT&T skimmer by Philip
mere amplification of the heritage of Johnson (1906-2005), in New York
Pop and the city of Las Vegas). (1978/84); symbolizing a clock, Charles
Moore's Piazza D'Italia (1925-1993), in
In Architecture Robert Venturi
New Orleans (1977/78), Michael
wrote his famous book in 1966 and in
Graves' Public Services Building (1934-
the early '70s he declared his famous
2015), in Portland, Oregon (1980/82)
motto: "... less is boredom ...", changing
with analogy from Tutankhamun's
Mies Van Der Rohe's phrase: "less is
tomb.
more".
All buildings continued the line of
In 1975 he analyzed the growing
Robert Venturi's 1st Buildings, such as
architecture without planning, street,
the Old Guild House in Philadelphia
vernacular, in which he spoke of the
(1963). With the Five Group or the Five
playful-commercial decoration
in New York, it was a group of five
symbolism was respectable and that the

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architects (including Michael Graves), well and this would lead them to
who began to develop a new discover the message they were trying
architectural language from classical to convey.)
Greco-Roman deconstructivist styles. We synthesize Postmodernism in
Postmodernism adopted all kinds of the design of objects / products, as
styles, languages, and techniques
fragmented (not in the sense of culture,
(industrial, semi-artisanal), and it also but formally), where each part receives
came to confer an ideal medium for a different, non-uniform treatment (for
making declarative statements of example, back and seat); with
design.
arguments ligh, high-tech, folck, dark,
The Postmodern work, not being etc. Breaking with all the rules (it is
governed by established rules, cannot be Deconstructive), breaking with the
judged by rules and by overcoming the geometry, with the productive rules,
old dichotomy of form versus function, generating unique pieces (against the
it seeks to enrich the experience, the principles of mass production), it is
emotional, combining styles of the past, even artisanal and industrial. It is
with the aggressiveness of colors , the ornamental, historicist, revivalist,
absence of moderation or good taste humorous, absurd, playful (you can play
(kitsch), low theoretical or formal with Rationalism, ironic), metaphorical,
restrictions stemming from pop allegorical, expressive, emotional,
(appearance will be preferred to reality, evocative (past or historicist), symbolic,
norms lose their original value). Pop enigmatic, intuitive, dreamlike,
had already been the trigger for the imaginative, psychological; it's
failure of Modern reason. everything and it's nothing
Of the designs made, in furniture, Indeed, Postmodern furniture

some are uncomfortable and impractical design is just baffling.
to sit on and become more something to
observe (almost a work of art, we would
say), and in turn to criticize (this is the
declarative statements made by the
Postmodern designs. They wanted the
designs to be thought of by the users as

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decoración de interiores. Argentina (1860-
BÉLY, L .: Louis XIV: le plus grand roi du
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monde, Les classiques Gisserot de l'histoire.
La Plata, pp. 6-9. Disponible en línea:
France, Éditions Jean-paul Gisserot, 2005.
http://sedici.unlp.edu.ar/handle/10915/39691
BLANCO, R .:
[Fecha de consulta: 30/08/2012].
- (2003): Sillopathy. 240 chairs designed by
- (2013): “La estética burguesa en el diseño
Ricardo Blanco. Buenos Aires, Editorial
de sillas”, Arte e Investigación, Nº 9,
Argentina.
La Plata, pp. 20-25. Disponible en línea:
- (2006): Argentine Chairs. Buenos Aires,
Museum of Modern Art of Buenos Aires. [Fecha de consulta: 30/11/2013].
CHARLOTTE & FIELL, P .: 1000 Chairs. - (2014): La Belle Époque argentina. Arte,
Köln, Editorial Taschen, 1997. arquitectura doméstica y diseño de muebles
aplicados a la decoración de interiores
FEDUCHI, L .: History of furniture. Barcelona,
burguesa (1860-1936). La Plata, Secretaría
Editorial Blume, 1946.
de Posgrado de la Universidad Nacional
GIDDENS, A .: Sociology. Madrid, Editorial de La Plata. Disponible en línea:
Alliance, 1991. http://sedici.unlp.edu.ar/handle/10915/35108
GIEDION, S .: Mechanization takes command. [Fecha de consulta: 26/04/2014].
Barcelona, Editorial Gustavo Gili, 1979. - (2015a): “Diseño industrial y artesanía.
Una mirada desde la historia del arte”, METAL,
VENTURI, R .: Complexity and contradiction
Nº 1, La Plata, pp. 65-71. Disponible en línea:
in architecture. Barcelona, S / E., 1972.
[Fecha de consulta: 30/07/2015].
WEBGRAPHY. - (2015b): “Teoría y crítica del diseño de
ANDERSON, I. F.: muebles”, Arte e investigación, Nº 11,
- (2008): Estética y tecnología del paisaje La Plata, pp. 20-26. Disponible en línea:
interior doméstico moderno. Argentina: 1880- http://sedici.unlp.edu.ar/handle/10915/51554
1980. La Plata, Secretaría de Posgrado de [Fecha de consulta: 30/12/2015].
la Universidad Nacional de La Plata, - (2019): “Breve historia occidental del diseño
http://sedici.unlp.edu.ar/handle/10915/36746 de muebles. Relaciones entre el diseño artesanal
[Fecha de consulta: 15/08/2008]. e industrial del mueble con la historia de la
- (2010): “Paisajes de productos industriales del arquitectura”, ArtyHum Revista Digital de Artes
mobiliario doméstico argentino (1880-1990)”, y Humanidades, Nº 71, Vigo, pp. 58-93.
Arte e Investigación, Nº 7, La Plata, pp. 9-14, Disponible en línea:
http://sedici.unlp.edu.ar/handle/10915/39473 https://www.artyhum.com/revista/71/#p=58
[Fecha de consulta: 30/12/2010]. [Fecha de consulta: 01/04/2019].

ArtyHum 74
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www.artyhum.com
Foils. RRRRRRRRRORAOAONANANAN
ANANANHAPNANHANHANHAP
Cover page.
NHANHAHPHANHAPH
https://www.pngocean.com/gratis-png-clipart-
https://ar.pinterest.com/pin/2551571351144990
zupzk
53/
19/
Plates 6a and 6b.
Plates 2a and 2b. https://es.dreamstime.com/foto-de-archivo-lion-

throne-image45690398
http://gigalresearch.blogspot.com/2013/06/la-
trayectoria-de-la-estrella-de.html https://www.quagga-
illustrations.de/produkt/h0014536/
https://egiptoatuspies.blogspot.com/2015/10/res
paldo-del-trono-de-tutankamon.html
Plates 7a and 7b.
Plates 3a and 3b. https://commons.wikimedia.org/w/index.php?cu

rid=2108221
https://commons.wikimedia.org/w/index.php?cu
rid=11817088 https://ar.pinterest.com/pin/5725201713766902
https://commons.wikimedia.org/w/index.php?cu 21/
rid=2530137
Plate 8.
Plates 4a and 4b. https://ar.pinterest.com/pin/97108935707194917/
rid=3517597
Plates 9a and 9b.
rid=15080287
81/
https://www.gutenberg.org/files/60369/60369-
Plates 5a and 5b.
h/60369-h.htm
https://www.pinterest.ph/pin/541065342704782
675/?amp_client_id=CLIENT_ID(_)&mweb_un
auth_id=\\\\\\\\\\\\\\\\\\\\\\\\\\\ 's Plates 10a and 10b.
============================ https://www.gutenberg.org/files/60369/60369-
============================ h/60369-h.htm
============================
============================
=== For default password R R R R R R R R R

ArtyHum 74
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www.artyhum.com
https://www.rubylane.com/item/1438587- https://commons.wikimedia.org/wiki/File:Louis
9619/Ex78quisite-French-Gothic-Throne- _XV._Fauteuil_(Carved_and_Gilt).jpg
Chair-Magnificent
https://thefederalistonline.com/products/french-
louis-xv-style-chaise-upholstered-chair-fsfi-35
Plates 11a and 11b.
https://commons.wikimedia.org/wiki/File:Chair Plates 16a and 16b.
_Louis_XIII_style_06.jpg https://commons.wikimedia.org/wiki/File:Carve
http://historiadelmueble.pbworks.com/w/page/2 d_and_Gilt_Settee_and_Arm_Chair.jpg
6642603/21- https://thefederalistonline.com/products/french-
El%20Mueble%20en%20Renacimiento louis-xvi-style-chaise-upholstered-chair-fsfi-39a
Plates 12a and 12b. Plates 17a and 17b.
https://ar.pinterest.com/pin/4889221032791548 https://commons.wikimedia.org/wiki/File:Side_c
33/ hair_(voyeuse)_MET_191345.jpg
https://www.antiques- https://www.1stdibs.com/furniture/seating/side-
atlas.com/antique/antique_carved_sgabello_hal chairs/lyre-back-voyeuse-chair-manner-
l_chair/as526a1634 georges-jacob/id-f_4933223/
Plates 13a and 13b. Plates 18a and 18b.
https://www.pinterest.es/perocornel/objetos- https://ar.pinterest.com/pin/1236379522505384
arqueol%C3%B3gico-medievales/ 84/
https://www.pinterest.at/pin/1774700415434626 http://www.chipstone.org/images.php/437/Amer
71/ ican-Furniture-2000/New-Insights-on-John-
Cadwalader%E2%80%99s--Commode-Seat-
Side-Chairs
Plates 14a and 14b.
https://es.wikipedia.org/wiki/File:Tapisseries,_b
Plates 19a and 19b.
roderies_et_dentelles;_recueil_de_modeles_anc
iens_et_modernes_(1890)_(14760854386).jpg https://etc.usf.edu/clipart/80900/80963/80963_c
hinese1.htm
http://www.ateliers-allot.fr/fauteuil-amand-
style-louis-xiv-pr138.html https://ar.pinterest.com/pin/5338877308030405
64/
Plates 15a and 15b.

Plates 20a and 20b.

ArtyHum 74
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www.artyhum.com
https://www.pinterest.es/pin/76842737372995212/ https://es.wikipedia.org/wiki/File:Chair_LACM
A_M.2009.115_(5_of_5).jpg
https://tallerymedio.com/2012/09/26/
https://www.the-peacockroom.com/en-GB/arts-
and-crafts/arts-crafts-william-morris-co-sussex-
Plates 21a and 21b.
chair-c1880-/prod_10169#.XoyQLHJKiUk
http://cristina-
todoarte.blogspot.com/2010/11/estilo-
Plates 27a and 27b.
directorio.html
https://www.pinterest.at/pin/5602760098863432
https://www.pinterest.at/pin/85075880441877791/
37/
https://es.m.wikipedia.org/wiki/File:Henry_van
Plates 22a and 22b.
_de_Velde_-_Chair_-_1895.jpg
https://commons.wikimedia.org/wiki/File:Micha
el_Thonet_14.jpg
Plates 28a and 28b.
http://teoriadeldisenocuaad.blogspot.com/2009/
Image sources: http://historia-disenio-
12/michael-thonet.html
industrial.blogspot.com/2015/08/silla-hill.html
https://www.idesign.wiki/josef-hoffmann-
Plate 23.
austrian-architect-and-designer-1870-1956/
https://blogiconosdeldiseno.wordpress.com/201
5/02/20/la-silla-no-14-todo-un-clasico/
Plates 29a and 29b.
https://www.aram.co.uk/red-and-blue-
Plates 24a and 24b.
chair.html
https://www.sillasdebarberia.site/
https://commons.wikimedia.org/wiki/File:Piet_
https://articulo.mercadolibre.com.ar/MLA- Mondriaan,_1921_-
716063130-equipo-dental-antiguo-_JM _Composition_en_rouge,_jaune,_bleu_et_noir.j
pg
Plates 25a and 25b.
https://commons.wikimedia.org/wiki/File:Shake Plates 30a and 30b.
r_no._7_rocking_chair_Rocking_Chair,_1878 http://historia-disenio-
%E2%80%931910_(CH_18460985-2).jpg industrial.blogspot.com/2014/02/silla-
https://www.thesocialitefamily.com/en/shop/unc cantilever.html
ategorized/shaker-dining-chair/ https://www.knoll.com/product/cesca-chair-
armless
Plates 26a and 26b.
Plates 31a and 31b.

ArtyHum 74
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www.artyhum.com
https://commons.wikimedia.org/wiki/File:Wei% https://www.researchgate.net/publication/24188
C3%9Fenhof- 0598_The_rules_of_unruly_product_design/figu
Stuhl_mit_Geflecht_von_Lilly_Reich.jpg res?lo=1
https://www.knoll.com/product/wassily-chair
Plates 32a and 32b.
https://www.houzz.com/products/art-deco-
hollywood-regency-glam-turquoise-accent-
chair-prvw-vr~135295265
Plates 33a and 33b.
https://www.moma.org/learn/moma_learning/pa
olo-lomazzi-donato-durbino-jonathan-de-pas- * Cover: On the left, Empire style
blow-inflatable-armchair-1967/ armchair (1799 to 1815), symbol of Napoleon
https://www.dieter-horn.de/en/zanotta/sacco- Bonaparte (1769-1821), is copied from Roman
chair-beanbag and Egyptian Art. The Roman imperial eagle,
swans and other decorative themes such as
laurel wreaths present in Greek temples. The
Plates 34a and 34b.
empire chair is opposed with its profuse
https://sbandiu.com/2017/08/20/la-sedia- premodern decoration; to the austere, rational
sheraton-di-robert-venturi/ and clean style of decoration, present in the
design of chairs of the Bauhaus School and the
https://www.muebleslluesma.com/sillas-de-
Modern Movement in Architecture and furniture
exterior/10244-silla-louis-ghost-kartell.html
design. On the right, Thonet chair No. 14, the
result of extensive experimentation with wood
Plates 35a and 35b. warping carried out in the late 1854s, is a
https://www.knoll.com/product/wassily-chair classic example of formal cleanliness and
rational functionalism expressed in the history
https://www.unibarcelona.com/es/actualidad/no
books on industrial design of all the world's
ticias/nos-ha-dejado-alessandro-mendini-
academies.
arrivederci-maestro
Plates 36a and 36b.
https://www.pinterest.cl/pin/3239073981859713
04/
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Preprint · July 2020

Ibar Federico Anderson

Congresos View project

Tesis Doctorado en Arte View project

The user has requested enhancement of the downloaded file.

BRIEF WESTERN HISTORY

The history of the Artisan and Industrial Design of the chair.

By Ibar Federico Anderson.

Receipt date: // 2020.

ArtyHum Revista de Artes y Humanidades, ISSN 2341-4898, nº 74, Vigo, 2020.

Abstract. The aim here is to undertake a

European courts of Louis XIII, Louis History of Architecture).

on the other hand, there are also many

It has been found that these two

Reason why, this essay is born

ArtyHum Revista de Artes y Humanidades, ISSN 2341-4898, nº 74, Vigo, 2020.

Introduction. If we understand Civilization as a

a) Ceremonial symbolic phase j) Conquest phase (2nd

h) Stage of the nineteenth o) Normative, instrumental,

ArtyHum Revista de Artes y Humanidades, ISSN 2341-4898, nº 74, Vigo, 2020.

q) Bauhaus productivist technical Development.

Such lion paws were supported by

b) Logocentric, abstract, philosophical

Greece had received the Eastern

On the left, a stone chair very similar to that

ArtyHum Revista de Artes y Humanidades, ISSN 2341-4898, nº 74, Vigo, 2020.

with the religious charge applied to a

Specifically, what was it doing

c) Jurisprudential and institutional

The government of the city of

ArtyHum Revista de Artes y Humanidades, ISSN 2341-4898, nº 74, Vigo, 2020.

d) Religious phase of the first period:

There is a first sub-phase that

piece of furniture (due to a lack of skill

ArtyHum Revista de Artes y Humanidades, ISSN 2341-4898, nº 74, Vigo, 2020.

e) Second phase religious phase: of The backs were adorned with

ArtyHum Revista de Artes y Humanidades, ISSN 2341-4898, nº 74, Vigo, 2020.

As Giedion describes it well, the On the other hand, vernacular

ArtyHum Revista de Artes y Humanidades, ISSN 2341-4898, nº 74, Vigo, 2020.

f) Calm phase on earth (1450 until It was a court furniture, mainly

ArtyHum Revista de Artes y Humanidades, ISSN 2341-4898, nº 74, Vigo, 2020.

ornamentation is lightened (this sectioned and elongated bulb). The

Chromwellian o Republican (1648

In Italy, there were also versions

ArtyHum Revista de Artes y Humanidades, ISSN 2341-4898, nº 74, Vigo, 2020.

The Louis XIV (1643 to 1715)

ArtyHum Revista de Artes y Humanidades, ISSN 2341-4898, nº 74, Vigo, 2020.

Regency (1715-1723): It was a

Louis XV(1723 to 1774): It was a finished in volute, Fables of La Fontaine. The

ArtyHum Revista de Artes y Humanidades, ISSN 2341-4898, nº 74, Vigo, 2020.

Louis XVI armchair. French style upholstered Jacob.

chair Louis XVI Chaise FSFI-39a.

h) Stage of the nineteenth century

ArtyHum Revista de Artes y Humanidades, ISSN 2341-4898, nº 74, Vigo, 2020.

Four sub-phases make it up: ending (mistaken for a lion's claw).

Guillermo and María (1688 to Georgian(1715 to 1810): It was a

Queen Ana(1702 to 1715): It was

ArtyHum Revista de Artes y Humanidades, ISSN 2341-4898, nº 74, Vigo, 2020.

with a row of studs with a decorated

As for the materials used,

ArtyHum Revista de Artes y Humanidades, ISSN 2341-4898, nº 74, Vigo, 2020.