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G\u00e9rard Henri Lutz (stamped by), Pierre Macret (most likely made by), Manufacture de la Petite Pologne (lacquered tin plate), Lacquered tin plate chest of drawers<\/em>, detail, circa 1770, former Galerie L\u00e9age collection<\/p>\n\n\n\n A dreamlike vision of a distant, opulent world, chinoiserie played a defining aesthetic role in the decorative arts of the 17th<\/sup> and 18th<\/sup> centuries.<\/p>\n\n\n\n Johan Nieuhoff, \u201cThe Jokers,\u201d Embassy of the United Provinces\u2019 East India Company to the Emperor of China<\/em>, 1665, Paris, Biblioth\u00e8que nationale de France<\/p>\n\n\n\n Fascinating the West since the publication of Marco Polo\u2019s travel accounts in the 14th<\/sup> century, \u201cthe Indies\u201d fired the imagination of European artists and collectors. Under this single term they grouped China, Japan, India, the Americas, and even Turkey. The 1665 publication of Johan Nieuhoff\u2019s illustrated travel journal further fueled this enthusiasm. In France, major collections were assembled, often enriched by visits from Asian embassies. King Louis XIV adorned his apartments with furniture and works of art \u201cfrom China.\u201d Around 1670 he commissioned the Trianon de porcelaine in the gardens of Versailles\u2014a marvelous pavilion clad in blue-and-white ceramic tiles inspired by Chinese porcelain. From the late 17th<\/sup> century onward, and throughout the 18th<\/sup>, collectors created \u201cChinese cabinets\u201d in their apartments: adorned with painted wallpapers, porcelains, and lacquered furniture, these intimate rooms invited reverie and wonder. Whether imported from Asia or made in France \u201cin the Chinese style,\u201d the objects they contained reflected and refined the taste for chinoiserie.<\/p>\n\n\n\n Adam P\u00e9relle, Perspective view of the Trianon de porcelaine from the garden side<\/em>, 1680\u20131684, Paris, National Library of France<\/p>\n\n\n\n Chinoiserie first expressed itself through direct or imaginative reinterpretations of Asian ornament. Silks, imported in great quantities from the East, became key vehicles for these motifs, inspiring French manufactories and ornament designers. The latter published precious pattern books offering full repertoires of Chinese-style designs. The Livre de dessins chinois<\/em> (1735) by Antoine Fraisse (1680\u20131739) and the numerous \u201cChinese\u201d design albums issued by Jean Pillement (1728\u20131808) in the second half of the century were rich sources of invention. Some historians even attribute the irregularity and \u201cwhimsicality\u201d of Chinese motifs with helping to shape the Rocaille taste of the 1720s. Interiors soon filled with small Chinese figures, pagodas, and dragons. Scenes of daily life were also reinterpreted: the pot-pourri \u00e0 vaisseau made by the S\u00e8vres manufactory for the Marquise de Pompadour\u2019s bedroom at the H\u00f4tel d\u2019\u00c9vreux was painted by Charles-Nicolas Dodin (1734\u20131803) with a charming vignette of three Chinese men playing go on one side, and flowers in the kakiemon<\/em> style on the other.<\/p>\n\n\n\n Manufacture de S\u00e8vres, Jean-Claude-Thomas Duplessis (after), Charles-Nicolas Dodin (painter), Potpourri \u201c\u00e0 vaisseau,\u201d delivered to Madame de Pompadour for her bedroom at the H\u00f4tel d\u2019Evreux in 1760<\/em>, Paris, Louvre Museum (inv. OA 10965)<\/p>\n\n\n\n \u00a9 2013 Mus\u00e9e du Louvre, Dist. GrandPalaisRmn \/ Thierry Ollivier<\/p>\n\n\n\n Europe\u2019s fascination with Asian objects inspired craftsmen to reproduce them. Lacquer was the first to be imitated. At the Gobelins manufactory, a workshop dedicated to \u201cworks in the Chinese style\u201d was created under Louis XIV and, from 1713, directed by the master varnisher Jacques Dagly (1669\u20131729). The royal Manufacture de vernis fa\u00e7on de la Chine of the Martin brothers, founded in 1748, also achieved great success. They decorated the Dauphine\u2019s apartments at Versailles with magnificent varnished paneling. Lacquer painters embellished furniture with remarkable decorations \u201cin the Chinese taste\u201d: the commode of Madame de Mailly, delivered to Choisy in 1743 and adorned with a sumptuous blue-and-white d\u00e9cor of exotic landscapes, is an emblematic example of this lacquered furniture. A few exceptional examples of furniture veneered with lacquered sheet metal in the Chinese style are also known. A chest of drawers, probably from the collections of the Marquise de B\u00e9ringhen and formerly in the collections of the L\u00e9age gallery, features a delicate decoration of Japanese fans. Chinese-inspired motifs and techniques can be found on this piece of furniture.<\/p>\n\n\n\n G\u00e9rard Henri Lutz (stamped by), Pierre Macret (most likely made by), Manufacture de la Petite Pologne (lacquered tin plate), Lacquered tin plate chest of drawers<\/em>, circa 1770, former Galerie L\u00e9age collection<\/p>\n\n\n\n Collectors\u2019 passion for porcelain likewise drove European manufactories to innovate. The secret of producing this \u201cwhite gold\u201d was discovered in Germany in 1709. In France, the manufactories of Chantilly, Saint-Cloud, and Vincennes-S\u00e8vres first produced soft-paste porcelain before uncovering the secret of hard-paste porcelain in the second half of the century. Asian forms and motifs were adapted to French customs, and services for chocolate, coffee, and lunch were produced in abundance.<\/p>\n\n\n\n S\u00e8vres manufactory, Jean-Claude Duplessis (after), Vase with elephant head, from a pair<\/em>, 1758, New York, Metropolitan Museum of Art (inv. 58.75.90)<\/p>\n\n\n\n In Paris, the marchands merciers<\/em>\u2014\u201cmakers of nothing, sellers of everything\u201d\u2014played a central role in spreading the taste for chinoiserie. They acquired Asian treasures at major collection sales\u2014porcelains, celadons, lacquer boxes and caskets\u2014and had them mounted in sumptuous gilt-bronze settings or incorporated directly into fine furniture. The dealer Edme-Fran\u00e7ois Gersaint (1694\u20131750) named his celebrated shop \u00c0 la pagode<\/em>, giving it an aura of sought-after exoticism. Lazare Duvaux (c.1703\u20131758) supplied the Marquise de Pompadour and other illustrious clients with splendid mounted porcelains and furniture veneered with luxurious Japanese lacquer, entrusting their creation to renowned cabinetmakers such as Bernard II van Riesenburgh (1700\u20131760).<\/p>\n\n\n\n Martin Carlin, Chest of drawers veneered with Japanese lacquer, delivered by the merchant Darnault for Madame Victoire\u2019s large study at the Ch\u00e2teau de Bellevue<\/em>, circa 1785, Paris, Mus\u00e9e du Louvre (inv. OA 5498)<\/p>\n\n\n\n \u00a9 2012 Mus\u00e9e du Louvre, Dist. GrandPalaisRmn \/ Thierry Ollivier<\/p>\n\n\n\n The influence of chinoiserie on French decorative arts in the 17th<\/sup> and 18th<\/sup> centuries was profound. Helping to shape the Rocaille style and inspiring new creativity in the manufactories, it gave rise to true masterpieces. Its influence spread elsewhere in Europe, particularly in England, where Chippendale design drew upon its forms and motifs for inspiration of striking originality.<\/p>\n\n\n\n Bibliography:<\/strong> A dreamlike vision of a distant, opulent world, chinoiserie played a defining aesthetic role in the decorative arts of the 17th<\/sup> and 18th<\/sup> centuries.<\/p>\n","protected":false},"author":3,"featured_media":5173,"menu_order":0,"comment_status":"open","ping_status":"closed","template":"","format":"standard","meta":{"_acf_changed":false,"_editorskit_title_hidden":false,"_editorskit_reading_time":0,"_editorskit_is_block_options_detached":false,"_editorskit_block_options_position":"{}","inline_featured_image":false,"wp_typography_post_enhancements_disabled":false,"footnotes":""},"categories":[],"tags":[],"class_list":["post-5175","newsletter","type-newsletter","status-publish","format-standard","has-post-thumbnail","hentry"],"acf":{"url_news1":{"simple_value_formatted":"","value_formatted":"","value":"","field":{"ID":438,"key":"field_64c00914a1189","label":"URL","name":"url_news1","aria-label":"","prefix":"acf","type":"url","value":null,"menu_order":0,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":437,"wrapper":{"width":"","class":"","id":""},"only_front":0,"frontend_admin_display_mode":"edit","no_values_message":"","wp-typography":"none","default_value":"","placeholder":"","wpml_cf_preferences":1,"_name":"url_news1","_valid":1}}},"mcc_id":null,"mcc_type":null,"mcc_status":null,"mcc_create_time":null,"mcc_send_time":null,"mcc_emails_sent":null,"mcc_delivery_status":null,"mcc_content_type":null,"mcc_archive_url":null,"mcc_long_archive_url":null,"mcc_plain_text":null,"mcc_content_html":null,"mcc_recipients":null,"mcc_list_id":null,"mcc_list_name":null,"mcc_segment_text":null,"mcc_recipient_count":null,"mcc_settings":null,"mcc_tracking":null,"mcc_social_card":null,"mcc_report_summary":null,"mcc___links":null,"mcc__edit_lock":null,"mcc__edit_last":null,"_links":{"self":[{"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/newsletter\/5175","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/newsletter"}],"about":[{"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/types\/newsletter"}],"author":[{"embeddable":true,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/comments?post=5175"}],"version-history":[{"count":2,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/newsletter\/5175\/revisions"}],"predecessor-version":[{"id":5950,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/newsletter\/5175\/revisions\/5950"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/media\/5173"}],"wp:attachment":[{"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/media?parent=5175"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/categories?post=5175"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/tags?post=5175"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![](\"https:\/\/mcusercontent.com\/62ce76c4b4cbc15fea5ad03c6\/_compresseds\/6a47f2dc-9769-a100-9841-366bf0e4ea1a.jpg\")
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Georges Brunel, H\u00e9l\u00e8ne Chollet, Val\u00e9rie Montalbetti, Pagodes et dragons. Exotisme et fantaisie dans l\u2019Europe rococo<\/em>, 1720\u20131770. Mus\u00e9e Cernuschi, Paris-Mus\u00e9es, 2007
Thibaut Wolversperges, Le Meuble fran\u00e7ais en laque au XVIIIe<\/sup> si\u00e8cle<\/em>, \u00c9ditions Racines, 2000.
Madeleine Jarry, Chinoiseries. Le rayonnement du go\u00fbt chinois sur les arts d\u00e9coratifs des XVIIe<\/sup> et XVIIIe<\/sup> si\u00e8cles<\/em>, Office du Livre, 1981
Marx Jacques. De la Chine \u00e0 la chinoiserie. \u00c9changes culturels entre la Chine, l\u2019Europe et les Pays-Bas m\u00e9ridionaux (XVIIe<\/sup>- XVIIIe<\/sup> si\u00e8cles)<\/em>. In: Revue belge de philologie et d\u2019histoire, tome 85, fasc. 3\u20134, 2007. pp. 735\u201377<\/p>\n","protected":false},"excerpt":{"rendered":"