Neo-Renaissance style

The 19th century was very eclectic - a philosophical doctrine borrowing the best elements from different systems of thought to create a whole new doctrine. In the decorative arts that translated into a combination of influences coming from a variety of sources. The Renaissance style is one of the styles that emerged from this.

The Neo-Renaissance style emerged in the times of Louis-Philippe (1830-1848) mixing the influences of the Renaissance and Henri II styles. It developed alongside the Neo-Gothic when, starting in 1830, artists rediscovered early Italian painters of the likes of Giotto, which were new additions to the Louvre Museum collections.

Dark woods were in vogue and cabinet makers worked with solid oak and walnut creating large imposing pieces of furniture. This trend continued during the Second Empire. Furniture and Cabinet makers were fascinated by the very architectural style of the Renaissance. For example double bodied dressers gave rise to complex superpositions and richly decorated furniture.

Decorator Michel Joseph Napoleon Lienard (1810-1870) greatly contributed to the Neo-Renaissance style : his ornaments were derived from 16th century furniture, cartouches, curlicues, exaggerated mouldings, Chimeras, caryatids, cupids, satyrs, strings of shells, frowning figures… . He collaborated with architect Duban on the restoration of the chateaux of Amboise, Versailles and Blois and the chapel in Dreux, and grew in confidence and authority on different styles, especially the Renaissance. He designed the models for the statues of the Saint Michel fountain in Paris. From 1835 to 1865, Lienard played a major role and was the reference for models of all sorts of neo-Renaissance designs.

Architect Pierre Manguin created a lush decor in the spirit of the French Renaissance inspired by the school of Fontainebleau for the townhouse of the marquise of Paiva (1819-1884) on the Champs-Elysees. The hotel was decorated with paintings by Gerome and Baudry, sculptures of Aube, Barrias, Carrier-Belleuse and Dalou. The marquise gave extraordinary parties there with guest like Emile de Girardin, Emile Augier, the Goncourts, Edmond About, Delacroix, Theophile Gautier, Arsene Houssaye, Taine, Sainte-Beuve and Gambetta. The sculpted bronze doors were by Legrain; inside, the famous moulded and sculpted onyx staircase was emblematic of the Napoleon III style. Today, the consoles « with Atlantes » made of marble and bronze, which were perfectly integrated into her salon, are in the Musee d’Orsay. The Atlantes, inspired by the Italian models of the 17th century, emerged from a collaboration between Carrier-Belleuse and his student Dalou.

• photo 1: Renaissance Clock by Baugrand, 1867 World’s fair. Baugrand, jeweller of Emperor Napoleon III proposed this remarkable gilded, chiselled, engraved and enamelled silver clock  with fine gold, enamelled elements, lapis-lazuli and rock crystal.
• photo 2: Renaissance sword from the famous collection of the Count of Nieuwerkerke, presented at the 1867 World’s Fair.
• photo 3: Henri II style mirror by M. Bodart, 1867 World’s Fair. The works of Bodart were most admired because he mastered perfectly the art of wrought iron. Here the process used is that of hammering the iron to shape it into beautiful effects of volutes, baskets, macaroons and grotesque curlicues. 
• photo 4:  Renaissance style black marble mantel, by Parfonry and Lemaire who received the gold medal of the marble industry, 1867 World’s Fair. 
• photo 5: Renaissance style sideboard in ebony with inlaid ivory by Hunsinger, 1867 World’s Fair. 
• photo 6: Console table "with Atlantes", at the Musee d'Orsay.
• photo 7: Grand onyx stairway, hotel of the marquise of Paiva, Paris.