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Interior decorating in nineteenth-century FranceThe visual culture of a new profession$
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Anca I. Lasc

Print publication date: 2018

Print ISBN-13: 9781526113382

Published to Manchester Scholarship Online: January 2019

DOI: 10.7228/manchester/9781526113382.001.0001

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PRINTED FROM MANCHESTER SCHOLARSHIP ONLINE (www.manchester.universitypressscholarship.com). (c) Copyright Manchester University Press, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in MSO for personal use.date: 29 January 2020

Private home, artistic stage: the circulation and display of interior dreamscapes

Private home, artistic stage: the circulation and display of interior dreamscapes

Chapter:
(p.106) 3 Private home, artistic stage: the circulation and display of interior dreamscapes
Source:
Interior decorating in nineteenth-century France
Author(s):

Anca I. Lasc

Publisher:
Manchester University Press
DOI:10.7228/manchester/9781526113382.003.0004

Pierre-Luc Cicéri, chief decorator at the Paris Opéra, also established a career as interior decorator and educator of students that treated interior spaces as three-dimensional images and artworks in their own right. Cicéri’s followers helped push the art of fantasy architecture to a new level, creating a new form of art and popular entertainment around the “ideal home.” Exhibited at the Salon and at a variety of universal and decorative arts exhibitions as well as published in expensive, luxury folios and reprinted in cheaper, popular editions, the “interior dreamscapes” by Cicéri’s followers disseminated the interior for interior’s sake. The domestic interior could be admired, collected, hidden inside cabinets, or reappropriated as an object of contemplation for private walls. The same images functioned as two-dimensional blueprints for the construction of three-dimensional settings and as advertising schemes for the artists that produced and popularized them, furthering interest in and creating a common language about the appearance of the modern, private home. The chapter ultimately argues that wishful thinking and vicarious identification with the - often missing - owners of the model interiors made available through these means and furtively perused in private homes helped create a professional niche that would soon be occupied by the interior designer.

Keywords:   Stage designers as interior decorators, Illustrators as interior decorators, Interior dreamscapes, Drapery and interior design, Pattern books, Mass circulation of interior decoration designs, Exhibiting the model interior, Alexandre-Eugène Prignot, G. Félix Lenoir, Georges Rémon, Célestin-François-Louis Gosse

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