Editing Baroque (section)

===Revivals and influence through eclecticism===
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File:Beauvais (Oise) - MUDO - "Cabaret à la manière de Boulle" (vers 1850-1870).jpg|Cabinet; {{circa}}1850–1870; [[Boulle work|Boulle marquetry]]; unknown dimensions; [[Musée départemental de l'Oise]], Beauvais, France

File:Decorative arts in the Louvre - Room 85 (01).jpg|Large console with central projection; by [[Benjamin Deguil]] and [[Benjamin-Paul Ramillon]]; 1850–1875; gilt wood and marble; 100 x 283 x 77&nbsp;cm; [[Napoleon III]] Apartments, [[Louvre Palace]], Paris<ref>{{cite web|url=https://collections.louvre.fr/ark:/53355/cl010114641|website=collections.louvre.fr|title=Grande console à ressaut central|access-date=20 September 2023}}</ref>

Napoleon III Apartments (44883695984).jpg|The Grand Salon of the apartments of the minister of state, currently known as the Napoleon III Apartments, designed by [[Hector Lefuel]] and decorated with paintings by [[Charles Raphaël Maréchal]], 1859–1860<ref>{{cite book|last1=Bresc-Bautier|first1=Geneviève|title=The Louvre, a Tale of a Palace|date=2008|publisher=Musée du Louvre Éditions|isbn=978-2-7572-0177-0|page=136|url=|language=en}}</ref>

File:Château de Compiègne-Serre bijoux de l'Impèratrice Eugènie-20150303.jpg|Jewelry toilet of [[Empress Eugénie]]; by [[Jules Fossey]]; {{circa}}1860; unknown materials; unknown dimensions; [[Château de Compiègne]], Compiègne, France

File:Decorative_arts_in_the_Louvre_-_Room_83_(07).jpg|Candelabrum with eleven lights; by [[Ferdinand Barbedienne]]; 1861; gilt bronze; height: 83.7&nbsp;cm, length: 49.4&nbsp;cm; Napoleon III Apartments<ref>{{cite web|url=https://collections.louvre.fr/en/ark:/53355/cl010103235|website=collections.louvre.fr|title=Candélabre à onze lumières|access-date=20 September 2023}}</ref>

Paris Palais Garnier 2010-04-06 16.55.07.jpg|Exterior of the [[Palais Garnier]], Paris, an example of [[Beaux Arts architecture]], by [[Charles Garnier (architect)|Charles Garnier]], 1860–1875{{sfn|Jones|2014|p=296}}

File:Foyer (51865286672).jpg|Grand foyer of the Palais Garnier, inspired by the [[Hall of Mirrors]] of the [[Palace of Versailles]], but with some ornaments taken from other historical styles, like the [[Renaissance Revival|neo-Renaissance]] column lower parts, or the [[Greek Revival architecture|Greek Revival]] lyres at the tops of windows, by [[Charles Garnier (architect)|Charles Garnier]], 1860–1875{{sfn|Jones|2014|p=296}}

File:Table, European workshop, second half of the 19th century.jpg|Table; 2nd half of the 19th century; Boulle marquetry; unknown dimensions; in a temporary exhibition called "Dress Code Parfum de Secol XIX" at the [[Suțu Palace]], [[Bucharest]], Romania

Petit-Palais-Paris-02-2018.jpg|[[Petit Palais]], Paris, an example of Beaux Arts architecture, with Ionic columns very similar to those of the reign of [[Louis XIV]], by [[Charles Giraud]], 1900{{sfn|Jones|2014|p=294}}

File:Rue de Vaugirard, Paris 15 April 2017.jpg|[[Rue Guynemer (Paris)|Rue Guynemer]] no. 2, Paris, with a facade made up from a mix of detailed stone elements and big simple brick surfaces like what is in [[Place des Vosges]] from Paris, by [[Louis Périn]], 1914

File:Porte d'un immeuble, 2 rue Guynemer à Paris.jpg|Door of Rue Guynemer no. 2, Paris, with [[palmette]]s, shells, [[volute]]s, garlands, proportions and other elements seen on wrought iron, furniture, textiles and ceramics from the reign of Louis XIV
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Highly criticized, the Baroque would later be a source of inspiration for artists, architects and designers during the 19th century through [[Romanticism]], a movement that developed in the 18th century and that reached its peak in the 19th. It was characterized by its emphasis on emotion and [[individualism]], as well as glorification of the past and nature, preferring the medieval to the classical. A mix of literary, religious, and political factors prompted late-18th and 19th century British architects and designers to look back to the Middle Ages for inspiration. Romanticism is the reason the 19th century is best known as the century of [[Revivalism (architecture)|revivals]].<ref>{{cite book|last1=|first1=|title=The Architecture Book – Big Ideas Simply Explained|date=2023|publisher=DK|isbn=978-0-2414-1503-0|page=164|url=|language=en}}</ref> In France, Romanticism was not the key factor that led to the revival of Gothic architecture and design. Vandalism of monuments and buildings associated with the [[Ancien Régime]] (Old Regime) happened during the [[French Revolution]]. Because of this an archaeologist, [[Alexandre Lenoir]], was appointed curator of the Petits-Augustins depot, where sculptures, statues and tombs removed from churches, abbeys and convents had been transported. He organized the [[Musée des Monuments français (1795–1816)|Museum of French Monuments]] (1795–1816), and was the first to bring back the taste for the art of the Middle Ages, which progressed slowly to flourish a quarter of a century later.<ref>{{cite book|last1=M. Jallut|first1=C. Neuville|title=Histoire des Styles Décoratifs|date=1966|publisher=Larousse|isbn=|page=37|url=|language=fr}}</ref>

This taste and revival of medieval art led to the revival of other periods, including the Baroque and Rococo. Revivalism started with themes first from the Middle Ages, then, towards the end of the reign of [[Louis Philippe I]] (1830–1848), from the [[Renaissance]]. Baroque and Rococo inspiration was more popular during the reign of [[Napoleon III]] (1852–1870), and continued later, after the fall of the [[Second French Empire]].<ref>{{cite book|last1=Sylvie|first1=Chadenet|title=French Furniture • From Louis XIII to Art Deco|date=2001|publisher=Little, Brown and Company|pages=128, 141|language=en}}</ref>

Compared to how in England architects and designers saw the [[Gothic architecture|Gothic]] as a national style, Rococo was seen as one of the most representative movements for France. The French felt much more connected to the styles of the [[Ancien Régime]] and [[First French Empire|Napoleon's Empire]], than to the medieval or Renaissance past, although Gothic architecture appeared in France, not in England.

The revivalism of the 19th century led in time to [[eclecticism]] (mix of elements of different styles). Because architects often revived Classical styles, most Eclectic buildings and designs have a distinctive look. Besides pure revivals, the Baroque was also one of the main sources of inspiration for eclecticism. The [[coupled column]] and the [[giant order]], two elements widely used in Baroque, are often present in this kind of 19th and early 20th century buildings. Eclecticism was not limited only to architecture. Many designs from the [[Second Empire style]] (1848–1870) have elements taken from different styles. Little furniture from the period escaped its three most prevalent historicist influences, which are sometimes kept distinct and sometimes combined: the Renaissance, [[Louis XV style|Louis XV]] (Rococo), and [[Louis XVI style]]s. Revivals and inspiration also came sometimes from Baroque, like in the case of remakes and [[arabesque]]s that imitate [[Boulle work|Boulle marquetry]], and from other styles, like Gothic, Renaissance, or [[Regency era|English Regency]].<ref>{{cite book|last1=Sylvie|first1=Chadenet|title=French Furniture • From Louis XIII to Art Deco|date=2001|publisher=Little, Brown and Company|pages=141, 143|language=en}}</ref>

The [[Belle Époque]] was a period that begun around 1871–1880 and that ended with the outbreak of World War I in 1914. It was characterized by optimism, regional peace, economic prosperity, colonial expansion, and technological, scientific, and cultural innovations. Eclecticism reached its peak in this period, with [[Beaux Arts architecture]]. The style takes its name from the [[École des Beaux-Arts]] in Paris, where it developed and where many of the main exponents of the style studied. Buildings in this style often feature [[Ionic order|Ionic columns]] with their [[volue]]s on the corner (like those found in French Baroque), a rusticated basement level, overall simplicity but with some really detailed parts, arched doors, and an arch above the entrance like the one of the [[Petit Palais]] in Paris. The style aimed for a Baroque opulence through lavishly decorated monumental structures that evoked [[Louis XIV]]'s [[Versailles]]. When it comes to the design of the [[Belle Époque]], all furniture from the past was admired, including, perhaps, contrary to expectations, the Second Empire style (the style of the proceeding period), which remained popular until 1900. In the years around 1900, there was a gigantic recapitulation of styles of all countries in all preceding periods. Everything from Chinese to Spanish models, from Boulle to Gothic, found its way into furniture production, but some styles were more appreciated than others. The [[High Middle Ages]] and the early Renaissance were especially prized. [[Exoticism]] of every stripe and exuberant Rococo designs were also favoured.<ref>{{cite book|last1=Sylvie|first1=Chadenet|title=French Furniture • From Louis XIII to Art Deco|date=2001|publisher=Little, Brown and Company|page=157|language=en}}</ref>

Revivals and influence of the Baroque faded away and disappeared with [[Art Deco]], a style created as a collective effort of multiple French designers to make a new modern style around 1910. It was obscure before WW1, but became very popular during the [[interwar period]], being heavily associated with the 1920s and the 1930s. The movement was a blend of multiple characteristics taken from [[Modern art|Modernist]] currents from the 1900s and the 1910s, like the [[Vienna Secession]], [[Cubism]], [[Fauvism]], [[Primitivism]], [[Suprematism]], [[Constructivism (art)|Constructivism]], [[Futurism]], [[De Stijl]], and [[Expressionism]]. Besides Modernism, elements taken from styles popular during the Belle Époque, like [[Rococo Revival]], [[Neoclassicism]], or the neo-[[Louis XVI style]], are also present in Art Deco. The proportions, volumes and structure of Beaux Arts architecture before WW1 is present in early Art Deco buildings of the 1910s and 1920s. Elements taken from Baroque are quite rare, architects and designers preferring the Louis XVI style.

At the end of the interwar period, with the rise in popularity of the [[International Style]], characterized by the complete lack of any ornamentation led to the complete abandonment of influence and revivals of the Baroque. Multiple International Style architects and designers, but also [[Modern art|Modernist]] artists criticized Baroque for its extravagance and what they saw as "excess".  Ironically this was just at the same time as the critical appreciation of the original Baroque was reviving strongly.