Armchair by Jean-Baptiste Lebas (Maître in 1756)

wood

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portrait

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furniture

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decorative

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france

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wood

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decorative-art

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rococo

Dimensions 38 1/2 x 27 x 24 in. (97.79 x 68.58 x 60.96 cm)

Editor: Here we have two armchairs crafted around 1756 by Jean-Baptiste Lebas. They're made primarily of wood, with lush textiles covering the seats and backs. The detail and craftsmanship are exquisite, especially with the gold leaf finish on the Rococo carving. These objects make me think about wealth and leisure...what can you tell me about their original setting and purpose? Curator: These chairs aren’t merely furniture; they're potent symbols of status and power in 18th-century France. Consider the cultural climate – the reign of Louis XV. Opulence was not just fashionable but politically charged. These chairs, with their delicate floral carvings and rich upholstery, speak to the aristocracy’s desire to display wealth and refinement, but who would have commissioned such intricate work? Editor: Probably someone wealthy enough to afford that intricate work. So, how would owning and displaying these objects provide the commissioner a perceived socio-political advantage? Curator: The ownership of objects like these armchairs served a distinct socio-political function. Think of them as statements against the backdrop of growing social inequalities. These pieces were carefully curated displays of excess, differentiating the elite and reinforcing a rigid social hierarchy, solidifying their role. Consider their placement within a room and its effect. Editor: The Rococo style is all about elegance, so the shapes are complex but pleasing and, on the gold one, not overtly intimidating like the Baroque designs found in churches or state buildings of that era. It creates a very specific and deliberate narrative of luxury and accessibility...or aspirational accessibility for anyone viewing it, which also excludes many, too. Curator: Precisely. Now, how does thinking about that context shape your understanding of these chairs beyond their aesthetic appeal? Editor: Now, these are not just pretty chairs. These chairs represent social division. While someone lounged in comfort, the working class suffered. It makes the beauty bittersweet. Curator: Absolutely. Examining art in its historical context helps us unpack its complex layers and understand its true impact and how visual culture interacts with society. I now see these chairs with a new sense of socioeconomic awareness.

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minneapolisinstituteofart's Profile Picture
minneapolisinstituteofart over 1 year ago

This armchair and seven similar examples were given to the Institute by Carolyn and Franklin Groves and The Groves Foundation as furnishings for the Grand Salon from the Hôtel Gaillard de La Bouëxière. The 1738 and 1759 inventories for the grand salon reveal that the room was predominantly furnished with nine armchairs upholstered in Gobelins tapestry with scenes of fabled animals, similar to the upholstery on view here. The armchairs will be installed in the Grand Salon following restoration of their upholstery. The sinuous C- and S-curve shapes of the chair's arms and legs, juxtaposed by shells, scrolls, and cabochon motifs, reflects a restrained version of the rococo style that was popular in France during the mid-18th century.

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