Consumerism disguised as minimalism: a new trend

In decorative art, the form of Renaissance known as Henri II. lasted for three quarters of a century.

There was practically no change till the regency of Marie de’ Medici, when she invited Rubens to Paris. In 1625, he had completed his Luxembourg works, and the commencement of his visit is generally regarded as the date of the beginning of the pure Louis XIII. style.

Flemish influence, therefore, is the keynote of this modified Renaissance style. Marie de’ Medici called many of her own countrymen from Italy to design the new works, and Rubens himself had spent eight years in Mantua, and therefore Italian taste is often apparent in the Louis XIII. style, but is quite secondary to that of Flanders.

The great fame that Rubens enjoyed and his splendid reception in Paris gave his work unquestioned authority with the contemporary French decorative artists. His painting 4affected furniture with its luxuriant, robust and somewhat heavy qualities.

A period of magnificence and lavish expenditure by art-lovers had begun. Richelieu at the beginning almost rivalled in luxury Mazarin and Fouquet at the end of this period.

The Cardinal employed Simon Vouet and other artists on the decoration of his magnificent Palais Royal and the Castle of Rueil; and his expenditures in art collecting attracted such undesirable public attention that he presented a great part of his treasures to the King in 1636. Among these was a great silver buffet weighing about 1625 pounds.

Vouet, during this period, occupied a somewhat similar position to that held by Le Brun during the Louis XIV. period. It is interesting to note the importance now held by goldsmiths in decorative art.

A great deal of the furniture of the day was designed by them. Architects also regarded furniture as an integral part of the interior decoration of their apartments, and therefore designed the important pieces.

For instance, Crispin de Passe shows, besides his chimney-pieces (which being the most important architectural feature in the room, always received careful artistic treatment from the architects), chairs and bedstead. The latter still retains a good deal of Renaissance feeling, with carved posts, open-carved colonnade in the high foot-board and bulb feet. It is somewhat reminiscent of Du Cerceau’s design.

Modern design of minimalism has sparked a desire to simplify our space with style and character.