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"Man kan ikke lade være med at føle stolthed over at Danmark har en forsker af Mirjam Gelfer-Jørgensens internationale format, det er en fornem præstation, hun yder som den fødte forsker, indædt og udholdende, præcis og tålmodig i sin kærlighed til tingene. I det hjemlige guldalderhysteri har man oplevet, at møblerne blev skubbet til side som staffage, nu har Gelfer- Jørgensen givet dem det afgørende hovedparti" Fra Henrik Sten Møllers anmeldelse i Politiken Danske møbler fra perioden 1790 til 1850 udgør et af de mest spændende kapitler i dansk møbelkunsts historie. I denne periode kom danske møbler på omdrejningshøjde med møbelhåndværket i Europa og fremstillingen af møbler forøgedes betragteligt. I denne periode formedes en række af de træk, der siden har karakteriseret det bedste inden for dansk møbelkunst. I første kapitel berettes om forudsætningerne for den omfattend danske møbelproduktion i Frederik VI’s og Christian VIII’s tid. Kunstakademniets betydning for højnelsen af dekorationernes kvalitet ændrede på relativt kort tid – sammen med det københavnske snedkerlaugs initiativer med hensyn til gode modeller – danske møbler fra at være efterligninger af importerede til at udgøre et væsentligt, selvstændigt og stort område inden for dansk arkitektur og kunsthåndværk. Politisk var tiden omkring 1800 præget af megen uro efter den franske revolution og Danmarks stillingtagen for Napoleon, hvilket resulterede i inden landske spændinger, der dog synes at være trådt noget i baggrunden, da landet ramtes af den ene ulykke efter den anden: bombardement, brande og statsbankerot. En fælles vilje til at komme på fode igen mærkes tydeligt på det københavnske snedkerlaugs initiativer til forbedring af kvaliteten i håndværket. Til trods for mange års interesse for dansk guldalder gives der først nu med denne bog en forskningsbaseret oversigt over boligens indretning både hos regent, hos borgerskab og hos kunstnere. De tre hovedkapitler omhandler Christiansborg Slots møblering med møbler af C.F. Hansen og G.F. Hetsch. Herefter følger en beskrivelse af de danske guldalderkunstneres hjem med de smukt bemalede møbler i antik stil i former, der er enestående i møbelkunstens nyere historie. Ikke mindst børnemøblerne kan fremvise et væld af maleriske motiver. Den danske borgerlige empire frembragte en interiør- og møbelkunst, der på flere måder er blevet et dansk særkende, der lever videre i dag. Møbeltyper, dekorationer, møbelmagasiner, overfladebehandling m.m. omtales. Det er i denne empire man finder de mange anonyme danske møbler, hvis former bredte sig fra hovedstad ud til den mindste landsby, og hvis typer blev udgangspunkt for det, man har kaldt det 20. århundredes danske møbeleventyr. Enkle former, godt håndværk, holdbarhed er nogle afkendetegnene. I senklassicismen forfines håndværket yderligere. Nye former og dekorationer vokser ud af den tidlige empire. Et sigte med denne bog har været at placere møblerne i forhold til tidens guldalderkunst, og ikke mindst at sætte dem ind i deres tidsmæssige betydning. For at sætte det særligt danske i relief er der i hvert kapitel en kort oversigt over relevante udenlandske paralleller. Dr.phil. Mirjam Gelfer-Jørgensen er overbibliotekar ved Det Danske Kunstindustrimuseums Bibliotek |
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This new publication addresses an important period in Scandinavian design history when Danish furniture rose to an artistic level that was the equaled of any of its peers in Europe and the Americas. In the estimation of many historians, this body of work can be considered the foundation of modern Danish furniture design in the twentieth century. In the first chapter, the book presents new information on the Danish furniture industry between 1790-1850. Addressing the training of designers and craftsmen, the distribution of this furniture in the marketplace and its prominent role in Danish royal, aristocratic and bourgeouis households, the author presents an argument for the historical significance of this material. The second chapter details – with previously unpublished material – the lavish program for the furnishing of one of Europe’s most ambitious and beautiful royal palaces, Christiansborg, which provided a powerful impetus for the remarkable revision of taste and form that occurred in this industry in the early nineteenth century. The third chapter tells the fascinating story of Danish Neo-Antique furniture that revived many aspects of the ancient furniture of the Greco-Roman republics while presenting a clear political program for Danish artists and members of the intelligentsia who felt that this new furniture reflected their political aspirations. This chapter also provides an overview of the evolution of the Greek klismos chair in an international context. Gelfer-Jørgensen proves that the Danish pieces were among the most aesthetically radical of their time. This avant-garde quality was underscored by the use of advanced technology – some Danish chairs were fabricated with some of the most adverturesome laminated construction in the furniture industry of the early nineteenth century. The fourth chapter reveals the considerable extent to which this material became part of the lifestyles of the educated Danish bourgeoise. The book is printed with numerous color illustrations of previously unpublished furniture as well as reproductions of Danish Golden Age paintings which reveal this superlative furniture in original interiors. It is bound in a full canvas hardcover and dust jacket. The author is the head of The National Art and Design Library in Copenhagen and the assistant director at The Danish Museum of Decorative Art. She is the founder and chief editor of Scandinavian Journal of Design History (published since 1991). Other titles by Mirjam Gelfer-Jørgensen available at Rhodos International Science & Art Publishers: Toulouse Lautrec Posters Danish Jewish Art – Jews in Danish Art Scandinavian Journal of Design History, vol. 1-13. (Vol. 14 will be published november 2004) For further information please visit our homepage www.rhodos.com. For further information please visit our homepage www.rhodos.com. ed a powerful impetus for the remarkable revision of taste and form that occurred in this industry in the early nineteenth century. The third chapter tells the fascinating story of iconography in that unique body of work known as Danish Neo-Antique furniture. This material revived many aspects of the furniture of the ancient Greco-Roman republics while simultaneously presenting a clear political program for Danish artists and members of the intelligentsia who felt that this new furniture reflected their enlightened political aspirations that were against the absolute nature of the monarchy. This chapter also provides an overview of the evolution of the Danish Klismos chair in a fascinating international context. Gelfer-Jørgensen proves that the Danish pieces were among the most aesthetically radical of their time. This avant-garde quality was underscored by the use of advanced technology as many Danish chairs were fabricated with some of the most adventuresome laminated construction used in the furniture industry at that time. The fourth chapter reveals the considerable extent to which this material became part of the lifestyles of the educated Danish bourgeoisie. The book is printed with numerous color illustrations of previously unpublished furniture as well as reproductions of Danish Golden Age paintings which reveal these pieces in original interiors. It is bound in a full canvas hardcover and dust jacket. The beautiful layout by the graphic designer Gertrud Jensen has been awarded the prize of the year from the Society of Danish Book Design. The author is the head of The National Art and Design Library in Copenhagen and the assistant director at The Danish Museum of Decorative Art and a member of the board of ICOM-ICDAD. She has published many books on decorative art. She is the founder and chief editor of Scandinavian Journal of Design History. To visit the charity auction at Lauritz.Com please press here |