Miroir. Culture : l'allemand, Danzig (Gdansk). Dimensions : 75 x 64 x 4 in. (190,5 x 162,6 x 10,2 cm). Date : ca. 1680-1700. Grand défilé maquillage est devenu de plus en plus à la mode dans toute l'Europe à l'époque baroque, et ils étaient souvent conçu comme partie d'un ensemble, avec des consoles et de candlestands. Ce développement a été soutenu par les avancées techniques qui ont permis de produire de grandes plaques de verre miroir et conduit par l'ambition des princes d'imiter la magnifique Galerie des Glaces dans la suite d'état chambres de Versailles, créé en 1681-84 par Charles Le Brun
Cette image peut avoir des imperfections car il s’agit d’une image historique ou de reportage.
Mirror. Culture: German, Danzig (Gdansk). Dimensions: 75 x 64 x 4 in. (190.5 x 162.6 x 10.2 cm). Date: ca. 1680-1700. Large parade mirrors became increasingly fashionable throughout Europe during the Baroque period, and they were often conceived as part of an ensemble, with matching console tables and candlestands. This development was supported by technical advances that made it possible to produce larger plates of mirror glass and driven by the ambition of princes to imitate the magnificent Galerie des Glaces in the suite of state rooms at Versailles, created in 1681-84 by Charles Le Brun (1619-1690) for Louis XIV of France.[1] At the end of the seventeenth century, goods and artistic ideas flowed through northeastern Europe along trade routes that connected English and Netherlandish ports with the cities along the Baltic Sea and points east. The latest fashions were eagerly received and copied as closely as local craftsmen could manage and local patrons could afford. This mirror was once believed to be of Dutch origin, [2] but its putti nestled among a tangle of jaggedly lobed acanthus leaves have proved to be very similar to works in wood by the cabinetmakers and virtuoso carvers of the independent town of Danzig, one of the most prosperous trade centers on the Baltic seacoast and a gateway to Russia. Large quantities of household goods, such as Dutch case furniture and English chairs, [3] were imported into Danzig during the seventeenth and eighteenth centuries, as were luxury items like the popular Chinese blue-and-white porcelains. The grotesque dragon-monsters on this mirror, with their intriguingly intertwined necks and long tails, were obviously inspired by the decorations on the porcelain exported from East Asia. Dragons have been part of both Eastern and Western imagery for millennia, but seventeenth-century European craftsmen were probably unaware of their symbolism as water deities in the East and of Satan in the West. This frame offers an ingeniou
