Biedermeier

Biedermeier architecture

In Central Europe, Biedermeier refers to work in the fields of literature, music, the visual arts and interior design in the period between the years 1815 (Congress of Vienna), the end of the Napoleonic Wars, and 1848, the year of the European revolutions and contrasts with the Romantic era which preceded it. The style corresponds to the Regency style in England, Federal style in the United States and to the French Empire style.

Literature and music

The term Biedermeier comes from the pseudonym Gottlieb Biedermaier, used by the country doctor Adolf Kussmaul and the lawyer Ludwig Eichrodt in poems, printed in the Munich Fliegende Blätter (Flying Sheets), parodying the poems of the Biedermeier era as depoliticized and petit-bourgeois. The name was constructed from the titles of two poems (Biedermanns Abendgemütlichkeit (Biedermann's Evening Comfort) and Bummelmaiers Klage (Bummelmaier's Complaint)) that 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.

Typical Biedermeier poets are Annette von Droste-Hülshoff, Adelbert von Chamisso, Eduard Mörike, and Wilhelm Müller, the last two of which have well-known musical settings by Hugo Wolf and Franz Schubert respectively. Adalbert Stifter is a novelist and short story writer whose work also reflects the concerns of the Biedermeier movement, particularly with his novel, Der Nachsommer. As Carl Schorske puts 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".^[1]

Biedermeier can be identified with two trends in early nineteenth-century German history.

The first trend is growing urbanization and industrialization leading to a new urban middle class, and with it a new kind of audience. The early Lieder of Schubert, which could be performed at the piano without substantial musical training, illustrate the broadened reach of art in this period. Further, Biedermeier writers were themselves mainly middle-class, as opposed to the Romantics, who were mainly drawn from the nobility.

The second trend is the growing political oppression following the end of the Napoleonic Wars prompting people to concentrate on the domestic and (at least in public) the non-political. Due to the strict publication rules and censorship, writers primarily concerned themselves with non-political subjects, like historical fiction and country life. Political discussion was usually confined to the home, in the presence of close friends. This atmosphere changed by the time of the revolutions in Europe in 1848.

Architecture

Biedermeier architecture is marked by simplicity and elegance, exemplified by the paintings of Jakob von Alt and Carl Spitzweg. One of the most elegant surviving Biedermeier buildings is the Stadttempel in Vienna. Through the unity of simplicity, mobility and functionality the Biedermeier created tendencies of crucial influence for the Jugendstil / Art Nouveau, the Bauhaus and the 20th century.

A Biedermeier interior, Berlin: fitted carpets, unified window and pier-mirror draperies, and framed engravings in a restrained classicising style

Furniture design

Biedermeier was an influential style of furniture design from Germany during the years 1815-1848, based on utilitarian principles. The period extended into Scandinavia, as disruptions due to numerous states that made up the German nation were not unified by rule from Berlin until 1871. These post-Biedermeier struggles, influenced by historicism, created their own styles. Throughout the period, emphasis was kept upon clean lines and minimal ornamentality. As the period progressed, however, the style moved from the early rebellion against Romantic-era fussiness to increasingly ornate commissions by a rising middle class, eager to show their newfound wealth. The idea of clean lines and utilitarian postures would resurface in the twentieth century, continuing into the present day. Middle- to late-Biedermeier furniture design represents the 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 Germanic states and, then, into Scandinavia. The middle class growth originated in the English industrial revolution and many Biedermeier designs owe their simplicity to Georgian lines of the 1800s, as the proliferation of design publications reached the loose Germanic states and the Austro-Hungarian empire.

The Biedermeier style was a simplified interpretation of the influential French Empire Style of Napoleon I, 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. Whilst this timber was available near trading ports such as Antwerp, Hamburg and Stockholm, it was taxed heavily whenever it passed through another principality. This made mahogany very expensive to use and much local cherry and pearwood was stained to imitate the more expensive timbers. Stylistically, the furniture was simple and elegant. Its construction utilised the ideal of truth through material, something that later influenced the Bauhaus and Art Deco periods.

Many unique designs were created in Vienna, primarily because a young apprentice was examined on his use of material, construction, originality of design, and quality of cabinet work, before being admitted to the league of approved master cabinetmakers. Furniture from the earier 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 England. Biedermeier furniture was the first style in the world that emminated from the growing middle class. It preceded Victoriana and influenced mainly Germanic-speaking countries. In Sweden, Marshal Bernadotte, whom Napoleon appointed as ambassador to Sweden to sideline his ambitions, abandoned his support for Napoleon in a shrewd political move. Later, after being adopted by the last Vasa king of Sweden(who was childless), he became Sweden's new king Karl Johan. The Swedish Karl Johan style, similar to Biedermeier, retained its elegant and blatant Napoleonic style throughout the 19th century.

Emilie Feustell

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 Wilhelminian or Victorian style.

The term Biedermeier is also used to refer to a style of early clocks made in Vienna in the early 19th Century. The clean and simple lines included a light and airy aesthetic, especially in Vienna regulators of the Lanterndluhr and Dachluhr styles.

References

• Jane K. Brown, in The Cambridge Companion to the Lied, James Parsons (ed.), 2004, Cambridge.
• Carl E. Schorske, Fin-De-Siècle Vienna: Politics and Culture, Cambridge: Cambridge University Press, 1981.
• Martin Swales & Erika Swales, Adalbert Stifter: A Critical Study, Cambridge: Cambridge University Press, 1984.

Notes

1. ^ >Schorske, Carl E. (1981). Fin-De-Siecle Vienna: Politics and Culture. Cambridge: Cambridge University Press. p. 283. ISBN 0-521-28516-X.