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‘Dispensing with all unnecessary pomp’


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‘Dispensing with all unnecessary pomp’
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Angabe des Autors nach dem Muster: Martin Müller
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Julia Teresa Friehs
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As in the reign of Maria Theresa, economy and restraint constituted the supreme principles when it came to the decoration of the imperial palaces.
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Sober restraint was also the watchword under Franz II (I) in matters of interior decoration; courtly magnificence was at most found only in his wives’ apartments. Comfort and functionality were paramount – as in the furnishing of middle-class homes.

The interiors of the Viennese Court at this time are documented in several watercolour cycles which reproduce faithfully the décor and furnishing of various private apartments occupied by members of the imperial family. They even included views of the imperial bedrooms and water closets, revealing details of ‘Biedermeier’ life at Court. Later on, similar depictions of interiors were commissioned by the middle classes; domestic life increasingly came to represent a general focus of interest.
Various craftsmen such as cabinet-makers, upholsterers and sculptors supplied the interior decoration for the imperial residences. The imperial Court was a major patron and saw itself as a promoter of domestic craft trades. In contrast to the era of Maria Theresa furniture was no longer designed by architects but by craftsmen, who now had access to better training. Joseph II had made attendance at an academy of art a legal precondition for attaining the title of master craftsman. A ban on the import of French goods in 1786 led to relative autonomy and supported development in the various crafts. From the beginning of the nineteenth century craftsmen also received better training in draughtsmanship – facilitating their ability to draw their own designs was intended to promote autonomy and generate formal variety.

The development of new craft techniques led to the emergence of the Biedermeier style in furniture during the nineteenth century. The style of this new furniture was characterized by simplicity, regular forms, beauty and solidity, free from ‘superfluous’ ornamentation. In Vienna, this taste was mainly developed in aristocratic circles and was adopted only hesitantly by the Court and eventually also by the middle classes.

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Dem Inhalt zugeordnete Bildergalerie
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Handschreiben Kaiser Franz II./I. 1807:
wenzel-carl-wolfgang-blumenbach-201ewiener-kunst-und-gewerbefreund-oder-der-neueste-wiener-geschmack201c-1825
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Wenzel Carl Wolfgang Blumenbach:
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Barta-Fliedl, Ilsebill/Parenzan, Peter (Hrsg.): Lust und Last des Erbens. Die Sammlungen der Bundesmobilienverwaltung Wien, Wien 1993 (Museum zum Quadrat 4); Ottillinger, Eva B./Hanzl, Lieselotte: Kaiserliche Interieurs. Die Wohnkultur des Wiener Hofes im 19. Jahrhundert und die Wiener Kunstgewerbereform, Wien/Köln/Weimar 1997 (Museen des Mobiliendepots 3), 43–52; Schütz, Karl: Kunst und Kultur zur Zeit Maria Theresias, in: Brain Trust Inc. (Hrsg.): Maria Theresia und Schloss Schönbrunn. Familienresidenz und politische Bühne einer außergewöhnlichen Regentin, Katalog zur gleichnamigen Ausstellung der Schloss Schönbrunn Kultur- und Betriebsges.m.b.H. in Japan, Wien 2006, 168–172; Witt-Dörring, Christian: Maria Theresia und ihre Beziehung zur Möbelkunst am Wiener Hof, in: Koschatzky, Walter (Hrsg.): Maria Theresia und ihre Zeit. Eine Darstellung der Epoche von 1740–1780 aus Anlass der 200. Wiederkehr des Todestages der Kaiserin, 2. Aufl. Salzburg/Wien 1980, 347–354;
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Zitat Handschreiben Kaiser Franz II./I. 1807:
 
Zitat Wenzel Carl Wolfgang Blumenbach:
 
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