INTRODUCTION TO THOMAS CHIPPENDALE

Deyan Sudjic states in his book The Language of Things that Veblen’s "conspicuous consumption" has become each time more relevant. Objects were designed to be consumed and in some way they portrayed the wealth, the luxury and the class of a determined family. Objects not only needed to be understood as beautiful, they carried a meaning and looking expensive was not enough. This applies to Thomas Chippendale´s work. When commissioned to design the furniture of the Dumfries family he intended to demonstrate the wealth, the pedigree and the power. Described as "not very exotic in his sources of inspiration" this cabinet maker and furniture designer was the most prominent of his time. His work was the starting point of a tendency for those who wanted to reflect their accomplishments and prestige in the furniture they used. In his works he was able to combine luxury with creativity and that´s why he was considered the most important furniture maker of his time. Chippendale was able to understand the artistic tendencies of his time and reflect them on his work. In this presentation I will shortly present the life of Chippendale, then I will deal with his influence and style, I will present some of his designs and finally I will draw up a general conclusion.

THOMAS CHIPPENDALE

Thomas Chippendale was born in Otley, Yorkshire in 1693 and baptised on June 1718. His family had been involved in the wood working and timber trades and this influences his childhood. He received instruction from his father and had further training with Richard Wood, the leading furniture maker in York before moving to London. He received elementary education at Prince Henry´s Grammar School. In 1749 he rented a house near Covent Garden and in 1754 he moved to St. Martin´s Lane in London where he ran his business for more than 60 years. Chippendale worked as a journeyman cabinet maker and freelance designer before embarking on his project: the publication of the book The Gentleman and Cabinet Maker´s Director that appeared in 1754 and that showed "elegant and useful designs of household furniture in the Gothic, Chinese and Modern taste". For many critics, this was an ambitious project. However, the first edition was sold out and reprinted. A third edition appeared in 1762. Chippendale´s Director book marked a breakdown in the history of furniture. It was the first time they published designs for furniture in England as means of self- promotion. Thanks to this work his business became known to a wide circle of potential clients like the Dumfries and his name became distinctive of the rococo style. Nevertheless, he combined a wide-range of styles in his works.

Chippendale described himself as an upholder. He was able to supply his clients with designs of every kind. For his time, he was an entrepeneur, running a business that employed more than 50 craftsmen. He supervised the workforce, the production and always was a step ahead of new fashions. Chippendale preferred equipping large houses from attic to basement with "neat but substantially good items" for the family rooms. His objects were elegant and symbolized the prestige of its consumers. He used French mirror glass, the most expensive item, and he was prepared to act in whatever situation his clients commissioned him. Research until now has identified seventy Chippendale´s clients, 600 pieces of furniture and the development of his style can be traced from rococo furniture, to early Adam inspired pieces converging to neo-Clacissisms and ending on super- refined elegance. Chippendale died in 1778.

HIS WORK AND HIS INFLUENCE

He starts his book, The Gentleman and Cabinet Maker’s Director stating that the furniture that is showed is ‘‘calculated to improve and refine the present taste’’ and ‘‘suited to the fancy and circumstances of persons in all degrees of life’’. His work was recognized for being a monument of design. However, as he confesses ‘’I frankly confess, than in executing many of the drawings, my pencil has but faintly copied out those images that my fancy suggested, and had they not been published till I could have pronounced them perfect, perhaps they had never seen the light’’. Chippendale was an ambitious designer. He had fears and wanted that all his designs resembled the complexity of an ideal wonderful world. With his pencil and his ideas he was able to illustrate and bring to light his ambitions. He was very different from the craftsman who could produce ornate but proportioned furniture. He was more... He was the man who worked with Robert Adam on the furnishing of Harewood House in Yorkshire. He was the designer that was commissioned for his good taste by prestigious clients and who inspired his generation. Many of the designs show the strength and vigour characteristics he gave to his furniture. He did not only concentrated in rococo. His furniture ranged from French chairs, to mirror frames and to Chinese taste designs.

Chippendale observed the models of the 18th century and was able to redimension them with elegance, ranging from the Queen Anne furniture models to French fashion. His chairs showed the symmetry and proportion of a master design. The Ribbon back chairs were one of his triumphs, ‘’the carved ornament builds up a flow and freedom that accentuates the beauty of it’’. And he went beyond to blur the boundaries between art, design and architecture.... His interest in Chinese decoration took him to share with William Chambers multiple discussions about Chinese decoration and architecture. In Europe, a taste for Chinese culture had begun in the seventeenth century with lacquer cabinets and screens that laterly would be used by Eileen Gray. There was an admiration for porcelain and fabrics of the East and this became known as the Chinese Chippendale style. It was a style that was present in bookcases and chinese cabinets with carved legs of tables and Chinese chairs. Chippendale elaborated objects that for his time were extravagant. However, some documents suggest that his admiration for Chinese culture was only occasional.

He also experimented with Gothic style in a villa at Strawberry Hill. Chippendale wanted to be eccentric and in this house, owned by Horace Walpole, he reflects a least successful eccentric Gothic influence. His models with Gothic style went from Gothic chairs to Gothic bookcases and they give the idea that he never captured the ideas of the Old Gothic style.

As we can see, Chippendale knew that to be an artist meant to be eccentric. His works go beyond established boundaries. His business Chippendale, Haig and Co. was continued until 1976. He was a designer that liked ornament. His delicate carvings, the wealth expressed by the ribbons and interlaced embellishment, the complexity of his rococo extravagances and the beauty of his chairs, as well as his settes that were formed by two or three chair backs, with adjustments of proportion, give an idea of a harmonious design composition. His bookcases, long cases for clocks, desks, tables, clothes presses, chests sideboards, mirrors, etc... suggest that Chippendale´s design was ambitious. His designs and his book founded a school of taste that was continued by his son, Thomas Chippendale Junior.

RIBBON BACK CHAIRS

These ribbon back chairs are typical of Chippendale´s furniture design. He introduced in the design ´´a knotted or interlocked ribbon sometimes with a tassel and cord´´. The dimensions of the chairs were adapted to the design.

GOTHIC BEDS

Chippendale was well aware that Gothic style was still fashionable after the post medieval period. A gothic bed with drapery curtain in which posts are made into eight cants and curtains drawn up by one line on each side explain his style.

CHINESE ORNAMENT

They were found strange and interesting by furniture makers thanks to the pagoda roof and bamboo framing. It was often seen in single rooms, dressing rooms and tea rooms. The most famous of these designs are the ones at Badminton House where objects were finished and furnished with elegant Chinese taste. The walls had painted Chinese wallpaper.

CHINESE CHAIRS
Are one of the most valuable objects of Chippendale´s art. They have their Chinese part in the backs with top rails carved with pagoda motifs. Legs are straight, plain and simple. There are nine chairs and the sizes are all specified on the designs.