Biedermeier

Last updated

Der Sonntagsspaziergang painting by Carl Spitzweg, a typical representation of the Biedermeier period (1841) Carl Spitzweg 036.jpg
Der Sonntagsspaziergang painting by Carl Spitzweg, a typical representation of the Biedermeier period (1841)
Austrian Biedermeier sofa, c. 1815-1825, mahogany, upholstery (not original), Montreal Museum of Fine Arts (Montreal, Canada) Biedermeier sofa, Austria, c. 1815-1825, mahogany, upholstery (not original) - Montreal Museum of Fine Arts - Montreal, Canada - DSC09349.jpg
Austrian Biedermeier sofa, c. 1815–1825, mahogany, upholstery (not original), Montreal Museum of Fine Arts (Montreal, Canada)

The Biedermeier period was an era in Central Europe between 1815 and 1848 during which the middle classes grew in number and the arts began to appeal to their sensibilities. The period began with the end of the Napoleonic Wars in 1815 and ended with the onset of the Revolutions of 1848.

Contents

The term derives from the fictional mediocre poet Gottlieb Biedermaier [sic], who featured in the Munich magazine Fliegende Blätter (Flying Leaves). [1] It is used mostly to denote the unchallenging artistic styles that flourished in the fields of literature, music, the visual arts and interior design. Biedermeier has influenced later styles.

Political background

Emperor Francis I of Austria in his study at the Hofburg palace. The interior is in the Biedermeier style. The Concert of Europe, ensured by the Austrian chancellor and foreign minister Klemens von Metternich, enabled the period of peace in which Biedermeier sensibilities developed. Johann Stephan Decker - Kaiser Franz II. (I.) in seinem Arbeitszimmer - 2811 - Osterreichische Galerie Belvedere.jpg
Emperor Francis I of Austria in his study at the Hofburg palace. The interior is in the Biedermeier style. The Concert of Europe, ensured by the Austrian chancellor and foreign minister Klemens von Metternich, enabled the period of peace in which Biedermeier sensibilities developed.

The Biedermeier period does not refer to the era as a whole, but to a particular mood and set of trends that grew out of the unique underpinnings of the time in Central Europe. There were two driving forces for the development of the period. One was the growing urbanization and industrialization leading to a new urban middle class, which created a new kind of audience for the arts. The other was the political stability prevalent under Klemens von Metternich following the end of the Napoleonic Wars [2] and the Congress of Vienna.[ citation needed ]

The effect was for artists and society in general to concentrate on the domestic and, at least in public, the non-political. Writers, painters, and musicians began to stay in safer territory, and the emphasis on home life for the growing middle class meant a blossoming of furniture design and interior decorating. [3]

Aesthetic standards

The affluent middle class values that are associated with Biedermeier include affection, sensibility, moderation, and modesty. Biedermeier Gemütlichkeit means, that one reaches a state of cosiness, as well as friendliness. Biedermeier style displays the conflict between ideals and reality, as human life was grey and gloomy. [4]

Family values

Biedermeier family values reflected the bourgeois consensus and the housewife was responsible for furnishing and choosing the appropriate design. Middle class women were held responsible for family cohesion and children had to be socialized within the family. [5]

Literature

The term Biedermeier appeared first in literary circles in the form of a pseudonym, Gottlieb Biedermaier, used by the country doctor Adolf Kussmaul and lawyer Ludwig Eichrodt in poems that the duo had published in the Munich satirical weekly Fliegende Blätter in 1850. [6]

The verses parodied the people of the era, namely Samuel Friedrich Sauter, a primary teacher and sort of amateurish poet, as depoliticized and petit-bourgeois. [7] The name was constructed from the titles of two poems—"Biedermanns Abendgemütlichkeit" (Biedermann's Evening Comfort) and "Bummelmaiers Klage" (Bummelmaier's Complaint)—which Joseph Victor von Scheffel had published in 1848 in the same magazine.[ citation needed ]

As a label for the epoch, the term has been used since around 1900.[ citation needed ]

Due to the strict control of publication and official censorship, Biedermeier writers primarily concerned themselves with non-political subjects, like historical fiction and country life. Political discussion was usually confined to the home, in the presence of close friends.[ citation needed ]

Typical Biedermeier poets are Annette von Droste-Hülshoff, Friedrich Halm, Adelbert von Chamisso, Eduard Mörike, and Wilhelm Müller, the last three of whom have well-known musical settings by Robert Schumann, Hugo Wolf and Franz Schubert respectively. Adalbert Stifter was a novelist and short story writer whose work also reflected the concerns of the Biedermeier movement, particularly with his novel Der Nachsommer. As historian Carl Emil Schorske put it, "To illustrate and propagate his concept of Bildung, compounded of Benedictine world piety, German humanism, and Biedermeier conventionality, Stifter gave to the world his novel Der Nachsommer". [8]

Jeremias Gotthelf published The Black Spider in 1842 as an allegorical work that uses Gothic themes. It is Gotthelf's best known work. At first little noticed, the story is now considered by many critics to be among the masterworks of Biedermeier era and sensibility.[ citation needed ]

Furniture design and interior decorating

Biedermeier room in the museum of Chrzanow, Poland Chrzanow 15.jpg
Biedermeier room in the museum of Chrzanów, Poland
Zimmerbild (chamber painting) of a Biedermeier interior in Berlin: fitted carpets, unified window, and pier-mirror draperies, and framed engravings in a restrained classicising style, around 1825, by Leopold Zielcke (1791-1861) Zimmerbild 83.jpg
Zimmerbild (chamber painting) of a Biedermeier interior in Berlin: fitted carpets, unified window, and pier-mirror draperies, and framed engravings in a restrained classicising style, around 1825, by Leopold Zielcke (1791–1861)

Biedermeier furniture is admired for quality craftsmanship and comfort. Original early 19th century Biedermeier furniture was manufactured to be publicly displayed, with less concern for convenience and private enjoyment. Biedermeier upholstery makes extensive use of coil-springs. Biedermeier furniture design was purchased or commissioned by the prosperous middle class to celebrate comfort and leisure. [9]

Middle to late-Biedermeier furniture design represented a heralding towards historicism and revival eras long sought for. Social forces originating in France would change the artisan-patron system that achieved this period of design, first in the German states, and then into Scandinavia. The middle class growth originated in the Industrial Revolution in Britain and many Biedermeier designs owe their simplicity to Georgian lines of the 19th century, as the proliferation of design publications reached the German states and the Austrian Empire. [10]

The Biedermeier style was a simplified interpretation of the influential French Empire style of Napoleon, which introduced the romance of ancient Roman Empire styles, adapting these to modern early 19th century households. Biedermeier furniture used locally available materials such as cherry, ash, and oak woods rather than the expensive timbers such as fully imported mahogany.

Unique designs were created in Vienna. Furniture from the earlier period (1815–1830) was the most severe and neoclassical in inspiration. It also supplied the most fantastic forms which the second half of the period (1830–1848) lacked, being influenced by the many style publications from Britain. Biedermeier furniture was the first style in the world that emanated from the growing middle class. It preceded Victoriana and influenced mainly German-speaking countries.

In Sweden, Jean-Baptiste Bernadotte, who was adopted by King Charles XIII (who was childless), became Sweden's new king in 1818 as Karl XIV Johan. The Swedish Karl Johan style, similar to Biedermeier, retained its elegant and blatantly Napoleonic style throughout the 19th century.

Biedermeier furniture and lifestyle was a focus on exhibitions at the Vienna applied arts museum in 1896. The many visitors to this exhibition were so influenced by this fantasy style and its elegance that a new resurgence or revival period became popular amongst European cabinetmakers. This revival period lasted up until the Art Deco style was taken up. Biedermeier also influenced the various Bauhaus styles through their truth in material philosophy.

The original Biedermeier period changed with the political unrests of 1845–1848 (its end date). With the revolutions in European historicism, furniture of the later years of the period took on a distinct Wilhelminian or Victorian style.

The term Biedermeier is also used to refer to a style of clocks made in Vienna in the early 19th century. The clean and simple lines included a light and airy aesthetic, especially in Viennese regulators of the Laterndluhr and Dachluhr styles.

Architecture

The Geymullerschlossel in Vienna constructed in 1808, it houses the Biedermeier collection Potzleinsdorf (Wien) - Geymullerschlossel.JPG
The Geymüllerschlössel in Vienna constructed in 1808, it houses the Biedermeier collection

The 19th century population growth and urbanization in Europe resulted in Biedermeier architecture marked by functionality and elegance. [11]

The Geymüllerschlössel in Vienna was constructed in 1808, it houses today the Biedermeier collection of the Museum of Applied Arts.[ citation needed ]

Architectural legacy

In Wilhelmine Germany social reformers regarded Biedermeier architecture as the perfect example for middle class culture and domestic reform. [12]

During the Weimar Republic Germany faced another housing crisis. Paul Schultze-Naumburg was among Germany's most respected neo-Biedermeier architects and in his mind, new housing should imitate the German Biedermeier architecture of around 1800. Paul Mebes popularized the neo-Biedermeier style, which was widely endorsed by German architects. A modernist neo-Biedermeier architectural style was contrived by Adolf Behne, Bruno Taut, and Peter Behrens. [13] Schultz-Naumburg and Heinrich Tessenow advocated for interpreting Biedermeier architecture liberally, allowing for little modernization. [14]

The Polish architectural style Świdermajer was named as a play on Biedermeier.[ citation needed ]

Visual arts

Am Fronleichnamsmorgen, by Ferdinand Georg Waldmuller (1857) is an example of Biedermeier paintings evoking harmony, belief, and tradition. Ferdinand Georg Waldmuller - Am Fronleichnamsmorgen (1857).jpg
Am Fronleichnamsmorgen, by Ferdinand Georg Waldmüller (1857) is an example of Biedermeier paintings evoking harmony, belief, and tradition.

The German word bieder translates into plain, while Maier is a common bourgeois surname. In the visual arts, Biedermeier style is associated with sentimentality and dullness. Biedermeier paintings are known for their preoccupation with the everyday world with few grand gestures. [15]

This formed an aesthetic is evidenced in the portraits (e.g., Portrait of the Arthaber Family, 1837, by Friedrich von Amerling), landscapes (e.g. see Waldmüller or Gauermann landscapes) and contemporary-reporting genre scenes (e.g., Controversy of the Coachmen, 1828, by Michael Neder).

Clara Schumann, noted pianist, portrayed in 1838 by Andreas Staub Andreas Staub - Clara Schumann (Pastell 1838).png
Clara Schumann, noted pianist, portrayed in 1838 by Andreas Staub

Key painters of the Biedermeier movement were Carl Spitzweg (1808–1885), Ferdinand Georg Waldmüller (1795–1865), Henrik Weber (1818–1866), Josip Tominc (1780–1866), Friedrich von Amerling (1803–1887), Friedrich Gauermann (1807–1862), Johann Baptist Reiter (1813–1890), Peter Fendi (1796–1842), Michael Neder  [ de ] (1807–1882), Josef Danhauser (1805–1845), and Edmund Wodick (1806–1886) among others.[ citation needed ]

The biggest collection of Viennese Biedermeier paintings in the world is currently hosted by the Belvedere Palace Museum in Vienna.[ citation needed ]

Music

Biedermeier music was most evident in the numerous publications for in-home music making. Published arrangements of operatic excerpts, German Lieder, and some symphonic works that could be performed at the piano without professional musical training, illustrated the broadened reach of music in this period. Composers from this period include Beethoven, Schubert, Rossini, Mendelssohn, Chopin, Schumann and Liszt.

The so called Schubertiad were people who gathered around the composer Franz Schubert to provide a forum or meeting place for political secret societies. However, Biedermeier home music making was decidedly unpretentious and nonpolitical, the backdrop being politically explosive. Even the critical discussion of music itself was avoided. [16]

Czech National Revival

The Biedermeier period coincided with the Czech National Revival movement in the Czech-speaking areas. The most famous writers of the period were Božena Němcová, Karel Hynek Mácha, František Ladislav Čelakovský, Václav Kliment Klicpera, and Josef Kajetán Tyl. Key painters of the Czech Biedermeier were Josef Navrátil, Antonín Machek, and Antonín Mánes. Landscapes, still lifes, courtyards, family scenes, and portraits were very popular. Václav Tomášek composed lyric piano pieces and songs to the patriotic lyrics of Czech authors. Biedermeier was also reflected in the applied arts: glass and porcelain, fashion, jewellery, and furniture.

Related Research Articles

<span class="mw-page-title-main">German literature</span> Overview of German-language literature

German literature comprises those literary texts written in the German language. This includes literature written in Germany, Austria, the German parts of Switzerland and Belgium, Liechtenstein, Luxembourg, South Tyrol in Italy and to a lesser extent works of the German diaspora. German literature of the modern period is mostly in Standard German, but there are some currents of literature influenced to a greater or lesser degree by dialects.

<span class="mw-page-title-main">Furniture</span> Objects used to support human activities

Furniture refers to objects intended to support various human activities such as seating, eating (tables), storing items, working, and sleeping. Furniture is also used to hold objects at a convenient height for work, or to store things. Furniture can be a product of design and can be considered a form of decorative art. In addition to furniture's functional role, it can serve a symbolic or religious purpose. It can be made from a vast multitude of materials, including metal, plastic, and wood. Furniture can be made using a variety of woodworking joints which often reflects the local culture.

<span class="mw-page-title-main">Gottfried Semper</span> German architect and theorist (1803–1879)

Gottfried Semper was a German architect, art critic, and professor of architecture who designed and built the Semper Opera House in Dresden between 1838 and 1841. In 1849 he took part in the May Uprising in Dresden and was put on the government's wanted list. He fled first to Zürich and later to London. He returned to Germany after the 1862 amnesty granted to the revolutionaries.

<span class="mw-page-title-main">Greek Revival architecture</span> Architectural movement of the late 18th and early 19th centuries

Greek Revival architecture was a style that began in the middle of the 18th century but which particularly flourished in the late 18th and early 19th centuries, predominantly in northern Europe, the United States, and Canada, as well as in Greece itself following its independence in 1821. It revived many aspects of the forms and styles of ancient Greek architecture, in particular the Greek temple. A product of Hellenism, Greek Revival architecture is looked upon as the last phase in the development of Neoclassical architecture, which was drawn from Roman architecture. The term was first used by Charles Robert Cockerell in a lecture he gave as an architecture professor at the Royal Academy of Arts in London in 1842.

<span class="mw-page-title-main">Neoclassicism</span> Western cultural movement inspired by ancient Greece and Rome

Neoclassicism, also spelled Neo-classicism, emerged as a Western cultural movement in the decorative and visual arts, literature, theatre, music, and architecture that drew inspiration from the art and culture of classical antiquity. Neoclassicism was born in Rome, largely due to the writings of Johann Joachim Winckelmann during the rediscovery of Pompeii and Herculaneum. Its popularity expanded throughout Europe as a generation of European art students finished their Grand Tour and returned from Italy to their home countries with newly rediscovered Greco-Roman ideals. The main Neoclassical movement coincided with the 18th-century Age of Enlightenment, and continued into the early 19th century, eventually competing with Romanticism. In architecture, the style endured throughout the 19th, 20th, and into the 21st century.

<span class="mw-page-title-main">Adalbert Stifter</span> Austrian writer, poet, painter, and pedagogue (1805–1868)

Adalbert Stifter was an Bohemian-Austrian writer, poet, painter, and pedagogue. He was notable for the vivid natural landscapes depicted in his writing and has long been popular in the German-speaking world, while remaining almost entirely unknown to English readers.

<span class="mw-page-title-main">Otto Wagner</span> Austrian architect (1841–1918)

Otto Koloman Wagner was an Austrian architect, furniture designer and urban planner. He was a leading member of the Vienna Secession movement of architecture, founded in 1897, and the broader Art Nouveau movement. Many of his works are found in his native city of Vienna, and illustrate the rapid evolution of architecture during the period. His early works were inspired by classical architecture. By mid-1890s, he had already designed several buildings in what became known as the Vienna Secession style. Beginning in 1898, with his designs of Vienna Metro stations, his style became floral and Art Nouveau, with decoration by Koloman Moser. His later works, 1906 until his death in 1918, had geometric forms and minimal ornament, clearly expressing their function. They are considered predecessors to modern architecture.

<span class="mw-page-title-main">Friedrich von Amerling</span> Austro-Hungarian painter (1803–1887)

Friedrich von Amerling was an Austro-Hungarian portrait painter in the court of Franz Josef. He was born in Vienna and was court painter between 1835 and 1880. With Ferdinand Georg Waldmüller, he is one of the outstanding Austrian portrait painters of the 19th century.

<span class="mw-page-title-main">Wiener Werkstätte</span> Production community of artists in Vienna

The Wiener Werkstätte, established in 1903 by the graphic designer and painter Koloman Moser, the architect Josef Hoffmann and the patron Fritz Waerndorfer, was a productive association in Vienna, Austria that brought together architects, artists, designers and artisans working in ceramics, fashion, silver, furniture and the graphic arts. The Workshop was "dedicated to the artistic production of utilitarian items in a wide range of media, including metalwork, leatherwork, bookbinding, woodworking, ceramics, postcards and graphic art, and jewelry." It is regarded as a pioneer of modern design, and its influence can be seen in later styles such as Bauhaus and Art Deco.

<span class="mw-page-title-main">Empire style</span> 19th-century Neoclassical art movement

The Empire style is an early-nineteenth-century design movement in architecture, furniture, other decorative arts, and the visual arts, representing the second phase of Neoclassicism. It flourished between 1800 and 1815 during the Consulate and the First French Empire periods, although its life span lasted until the late-1820s. From France it spread into much of Europe and the United States.

Austrian literature is mostly written in German, and is closely connected with German literature.

<span class="mw-page-title-main">Neoclassical architecture</span> 18th–19th-century European classical revivalist architectural style

Neoclassical architecture, sometimes referred to as Classical Revival architecture, is an architectural style produced by the Neoclassical movement that began in the mid-18th century in Italy, France and Germany. It became one of the most prominent architectural styles in the Western world. The prevailing styles of architecture in most of Europe for the previous two centuries, Renaissance architecture and Baroque architecture, already represented partial revivals of the Classical architecture of ancient Rome and ancient Greek architecture, but the Neoclassical movement aimed to strip away the excesses of Late Baroque and return to a purer, more complete, and more authentic classical style, adapted to modern purposes.

<span class="mw-page-title-main">German art</span> History of German works of art

German art has a long and distinguished tradition in the visual arts, from the earliest known work of figurative art to its current output of contemporary art.

<i>Vormärz</i> Period of German history before the 1848 revolution

Vormärz was a period in the history of Germany preceding the 1848 March Revolution in the states of the German Confederation. The beginning of the period is less well-defined. Some place the starting point directly after the fall of Napoleon and the establishment of the German Confederation in 1815. Others, typically those who emphasise the Vormärz as a period of political uprising, place the beginning at the French July Revolution of 1830.

Nationality words link to articles with information on the nation's poetry or literature.

<span class="mw-page-title-main">Josef Hoffmann</span> Austrian architect (1870–1956)

Josef Hoffmann was an Austrian-Moravian architect and designer. He was among the founders of Vienna Secession and co-establisher of the Wiener Werkstätte. His most famous architectural work is the Stoclet Palace, in Brussels, (1905–1911) a pioneering work of Modern Architecture, Art Deco and peak of Vienna Secession architecture.

<span class="mw-page-title-main">Heinrich von Ferstel</span> Austrian architect (1828–1883)

Freiherr Heinrich von Ferstel was an Austrian architect and professor, who played a vital role in building late 19th-century Vienna.

<span class="mw-page-title-main">Josef Kriehuber</span> Austrian lithographer and painter (1800–1876)

Josef Kriehuber was an Austrian lithographer and painter, notable for the high quality of his lithographic portraits. A prolific yet meticulous artist, he made numerous portraits for nobility, well-known personalities, and government officials. Josef Kriehuber left more than 3000 lithographs, with portraits of many people including some of the most illustrious figures of mid-19th century Central Europe.

<span class="mw-page-title-main">Museum of Applied Arts, Vienna</span> Museum in Vienna, Austria

The MAK – Museum of Applied Arts is an arts and crafts museum located at Stubenring 5 in Vienna's 1st district Innere Stadt. Besides its traditional orientation towards arts and crafts and design, the museum especially focuses on architecture and contemporary art. The museum has been at its current location since 1871. Since 2004 the building is illuminated in the evenings by the permanent outdoor installation "MAKlite" of American artist James Turrell. In 2015 the MAK became the first museum to use bitcoin to acquire art, when it purchased the screensaver "Event listeners" of van den Dorpel. With over 300,000 objects displayed online, the MAK presents the largest online collection within the Austrian Federal Museums. The audio guide to this museum is provided as a web-based app.

<span class="mw-page-title-main">Geymüllerschlössel</span>

The Geymüllerschlössel is a small palace situated in Pötzleinsdorf, a neighborhood in Vienna's suburban outskirts. It is a branch of the Museum of Applied Arts and Contemporary Art, displaying a diverse collection of furniture and decorative art from the Biedermeier period as well as Franz Sobek's clock collection.

References

  1. "Biedermeier". Oxford Dictionary of Art and Artists. Oxford University Press. January 2009. ISBN   978-0-19-953294-0 . Retrieved 29 July 2023.
  2. Christopher John Murray (2004) Encyclopedia of the Romantic Era, 1760–1850, Taylor & Francis, Volume 1, p. 89
  3. "Biedermeier – Elegant, Simple Interior Design". Biedermeier.us. Retrieved 27 June 2013.
  4. Klaus Oschema; Lena Henningsen; Sibylle Baumbach, eds. (2017). The Fascination with Unknown Time. Springer International Publishing. p. 206. ISBN   9783319664385.
  5. Lisa Pine (2017). The Family in Modern Germany. Bloomsbury Publishing. p. 7. ISBN   9781350047723.
  6. Barea, Ilsa (1992). Vienna: legend and reality. Pimlico. p. 112. ISBN   0-7126-5579-4.
  7. Ludwig Eichrodt 1827–1892 Renate Begemann Verlag der Badischen Landesbibliothek, 1992, p.115
  8. Carl E. Schorske (1981). Fin-De-Siecle Vienna: Politics and Culture. Cambridge University Press. p. 283. ISBN   0-521-28516-X.
  9. David Raizman (2003). History of Modern Design: Graphics and Products Since the Industrial Revolution. Laurence King. p. 37. ISBN   9781856693486.
  10. Austria-Hungary did not exist until 1867
  11. Allison Lee Palmer (2020). Historical Dictionary of Neoclassical Art and Architecture. Rowman & Littlefield Publishers. p. 43. ISBN   9781538133590.
  12. David Bertolini; Donald Kunze; Simone Brott (2016). Architecture Post Mortem: The Diastolic Architecture of Decline, Dystopia, and Death. Taylor & Francis. p. 209. ISBN   9781317179085.
  13. Xiangnan Xiong (2021). Mies at Home: From Am Karlsbad 24 to the Tugendhat House. Taylor & Francis. p. 77. ISBN   9781000600810.
  14. Xiangnan Xiong (2021). Mies at Home: From Am Karlsbad 24 to the Tugendhat House. Taylor & Francis. p. 78. ISBN   9781000600810.
  15. Ian Chilvers (2015). The Oxford Dictionary of Art and Artists. Oxford University Press. p. 63. ISBN   9780199532940.
  16. David Schroeder (2009). Our Schubert: His Enduring Legacy. Scarecrow Press. p. 96. ISBN   9780810869271.

Further reading