Product Code Database
The Biedermeier period was an era in the art and culture of the German Confederation between 1815 and 1848 during which the grew in number and artists began producing works appealing 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. The term originated in popular literature, before spreading to architecture, interior design, and visual arts.
"Biedermeier" derives from the fictional mediocre poet Gottlieb Biedermaier, who featured in the Munich magazine Fliegende Blätter ( Flying Leaves). It is used mostly to denote the unchallenging artistic styles that flourished in the fields of literature, music, the visual arts and interior design. As is natural in cultural creative movements, Biedermeier has influenced later styles.
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.
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.Ludwig Eichrodt 1827–1892 Renate Begemann Verlag der Badischen Landesbibliothek, 1992, p.115 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.
As a label for the epoch, the term has been used since around 1900.
Due to the strict control of publication and official censorship, Biedermeier writers concerned themselves primarily with non-political subjects, like historical fiction and country life. Political discussion was usually confined to the home, in the presence of close friends.
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". (1981). 052128516X, Cambridge University Press. 052128516X
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.
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.Austria-Hungary did not exist until 1867
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 Wilhelminism 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.
Nieznany - Podnóżek (SZMb 2231).jpg|Footstool; 1820–1840; carpentry embroidery upolstery; height: 29 cm, width: 46.3 cm; National Museum of Warsaw (Warsaw, Poland)
Nieznany - Konsola (SZMb 25).jpg|Console; 1825–1830; carpentry wood carving veneering; height: 86.6 cm, width: 104.2 cm; National Museum of Warsaw
Nieznany - Stolik do gry w szachy (SZMb 2087).jpg|Chess table; 1825–1835; carpentry veneering inlay; height: 77 cm; National Museum of Warsaw
The Geymüllerschlössel in Vienna was constructed in 1808, it houses today the Biedermeier collection of the Museum of Applied Arts.
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. (2025). 9781000600810, Taylor & Francis. ISBN 9781000600810 Schultz-Naumburg and Heinrich Tessenow advocated for interpreting Biedermeier architecture liberally, allowing for little modernization. (2025). 9781000600810, Taylor & Francis. ISBN 9781000600810
The Polish architectural style Świdermajer was named as a play on Biedermeier.
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). Reflecting the moderately conservative and generally apolitical ethos of the movement and its audience, Biedermeier painting actively shunned the radical commentary used in other circles, though later works like The Bookworm () left space for some lighthearted satire.
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), (1807–1882), Josef Danhauser (1805–1845), and Edmund Wodick (1806–1886) among others.
The biggest collection of Viennese Biedermeier paintings in the world is currently hosted by the Belvedere Palace Museum in Vienna.
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. (2025). 9780810869271, Scarecrow Press. ISBN 9780810869271
|
|
