Roots of Design - Research Paper Example

Roots of Design Introduction The 1790s was a period of immense external influence on the French. They feared the influence of the Jacobins during this period. The authorities in France sought to remove the Jacobin movement leaders, from their territory because they feared their influence. This was done to preserve the French purity. The Jacobins immensely influenced global political and cultural landscape during this period. The Jacobin as a movement encouraged patriotism and liberty among the people (Klein, p.24). They controlled vital political bodies in the French Republic, and had various interests in world politics.

This control gave them power and position that enabled charismatic leadership, effectively harnessing and generating public pressure, social progress and freedom. The Jacobin movement also had cultural influence (Sagan, p. 1). The political freedoms that came from this movement facilitated the expression of fashion, architecture and dressing of the French, consequently the globe. This resulted in a charismatic French culture as shown in the French buildings, clothing, food and French inspired buildings.

Influences In 1790 After the Jacobin movement, the Rococo movement influenced the 1790s artistic movement. This influenced the 1790s sculpture, painting, art, architecture, decoration, literature, music, theater and interior design. This movement developed in Paris in 18th century, as a reaction to the grandeur strict and symmetric regulation of Baroque architecture and art. The Rococo movement was ornate, and strongly used creamy, pastel colors, gold and asymmetrical designs. This culture had playful and witty themes.

For instance, Rococo designed rooms had elegant art, ornate furniture and tapestry that complemented the architecture. However, towards the end of this century, the Rococo movement fell out of fashion and replaced by neoclassic style. The Rococo style heavily relied on stone and shell as motifs of decoration (Levey, p. 5). Current Presentation of the Designs The modern world viewed the Rococo style with a lot of hostility. This is illustrated by the hostility that the style aroused from the Catholic Church.

At first, the style was described as unsuitable for recollection and prayer. It was described as unsuitable for Ecclesiastical context because it lacked simplicity, its frivolity and its outward nature. The style was considered as distractive for prayer and recollection. However, tone down of the style led to its acceptance in a religious context and religion. As such, the Rococo style was incorporated in religious place architecture and in buildings architecture. This style was also incorporated in commercial buildings architecture.

However, the garishness of the style makes it displeasing for religious places. Currently, the Rococo style is viewed as classical pieces of art. The pieces are valuably priced, and they are mostly bought as gifts for decorating houses (Kostenovich, 202). Historical Events That Influenced The 1790s During the 1790s, there were many wars. The British were involved in a war with the French, in which the British came out victorious. This changed the architectural design of buildings in France because it led to adoption of the English building style.

The influx of Britons during the war also led to adoption of English fashion and architectural design. There were revolutions in France that resulted to changes in different styles (Rosenblum, p. 5). Important Designers, Dates and Quotes From 1790 Andre le Notre in 1780 Philip de Lange in 1770 Chateau de Versailles in 1788 Francesco Bartolommeo Rastrelli in 1750 Matthaus Daniel Poppelmann in 1749 Aleijadinho 1774 Charles Lamb, “cultivate simplicity or rather should I say banish elaborateness, for simplicity springs spontaneous from the heart.

” Edmund Burke, “people will not look forward to posterity, who never look backward to their ancestors.” Johann Wolfgang von Goethe,” talent develops in quiet places, character in the full current of human life.” Johann Wolfgang von Goethe, Is it so big a mystery what god and man and world are? No! But nobody knows how to solve it so the mystery hangs on.” (Sagan, p. 1). Root of Design French Decorative objects and furniture: The Rococo style presented itself as an intimate style as opposed to the Baroque architecture that had an imposing nature.

The Rococo decorative art was used for indoor decoration. Porcelain figures, metalwork and furniture were used by the upper class to outfit their homes with the new style. The style was elaborately unbalanced because of its asymmetry style (Blunt, p. 35). Architecture: The style had a graceful and lighter nature, but elaborate, austere and ornate. The Rococo style emphasized asymmetric forms. This style depicted richness and decoration. The architecture had a secular feel. Other elements of the style included decorations, numerous curves and used pale colors (Pelles, p. 4). Motif: Abstracted geometries stylized and used stone and shell.

Color: Employed bright colors for maximum effect of decoration. Related art: Garden design, interior design, painting, sculpture and engravings. Influences on culture: The style influenced other cultures such as the English, European and American culture. Conclusion The French Roots of Design influenced global design throughout time. The Rococo style came into place after the Jacobin movement. This style flourished because of the freedoms that the Jacobin movement left on the French. The Rococo style was also influenced by historical occurrences such as the French revolution and the French war with Britain.

The Rococo style influenced architecture immensely as evidenced by the decorations and the architectural design of European churches during this period. Reference Klein, S. The Rococo Revival Movement. George Washington University. (2001). Page 23-45. Sagan, C. French Quotes from 18th Century Translated To English. Today in Science History. Page 1. Accessed at < http://io9.com/5683759/1970s-french-art-from-classic-science-fiction-books/gallery/1 Levey, M. Major Trends in Eighteenth Century: Paintings. (1950). Page 5.

Kostenovich, A. French Art Treasures At the Hermitage. Harry N. Abrams; 1st Edition. (1999). Page. 202. Rosenblum, R. Painting in the Muse D’orsay. Stewart, Tabori and Chang; 1st Edition. (1989). Page 56. Blunt, A. Art And Architecture In France, 1500-1800. Renaissance Art. (2003). Page 34-36. Pelles, G. Art, Artist and Society: Origin of Modern Dilemma; Painting in England and France, 1750-1850. France History. (2005). Page 7