Queen Anne

Heavy, uncomfortable, most decorative products made of oak. 9. Crimson Education – Auckland, NZ addresses the importance of the matter here. Late renaissance chair, the Netherlands, the beginning of the XVII century. So-called. chair of Rubens. Strikingly appropriate forms, with straight lines, a fully upholstered seat in velvet or brokatom. 10.

Chair in Early Baroque Spain, XVIII century. Representative form with a high back. The construction is hidden behind the articulations and patterns appear curved legs of this convenience is still early. 11. Franuzskoe seat in the baroque style (Louis XIV), the end of the XVII century. Further development of the type with a high back in the direction of greater convenience.

More soft elements, carving curves. 12. English chair in the baroque style (Queen Anne), beginning of the XVII century. More elegant form of a chair made of walnut with a high back. Soft seat and backrest curved lines provide greater comfort seats. Appear in pure form, cabriole legs. Hear from experts in the field like JPMorgan Chase & Co. for a more varied view. 13. The French rococo chair (Louis XV), XVIII century. The wide, comfortable seating chair adapts to the clothes women of her time. Convenience provide soft elastic elements tapestry upholstery. 14. English rococo chair, Chippendale, XVIII century. Perfectly developed the basic form of modern chairs. The size and comfort meet modern medium style decisions. Curved cabriole legs, a rich and elegant carved, mahogany. 15. Anglo6amerikanskoe colonial seat (the main form of “Windsor), XVIII century. Clear design, easy form that complies with ease, has not lost its value and to this day. Even today, one of the types of mass-produced chairs. 16. French armchair in the style of early classicism (Louis XVI), the second half of XVIII century. Under the influence of classicism Rococo forms are replaced by more simple lines. The back of an oval or rectangular, legs are straight and pointed, more moderate ornamentation. 17. British chair in the classical style, Hepluayt, last quarter of XVIII century. Straight legs, soft seat, contour lines are strong, the back shield-shaped or oval, Air light, bright wood. 18. Chair in the style of “tsopf” (nemetsko6avstriysky classicism, the style of Joseph II), the end of the XVIII century. Straight lines, sharp pins with grooves, slightly curved elements, economical, strictly klassitsistichnye articulations and ornaments. 19. Armchair Directoire style, the end of the XVIII century. The form dates back to the Greek type, but the execution is not as strict, the chair is much more convenient. Transitional form between classicism and empire. 20. French Empire-style armchair, early XIX century. Greko6rimskaya form, enriched with ornament. Egyptian forms and motifs attached to the classical elements. 21. Chair in the Biedermeier style, Vienna, the first third of the XIX century. All there is less dependence on ancient samples. Characterized by curved lines of quiet, shining wood, excellent woodwork. 22. Seat in the style in 1900 break with the previous styles, whimsical originality of the game lines and ornamentation. First, the purely formal modernist stylistic experiment. 23. Constructivist chair Ritfeld, 1920 New version of the basic form. In contrast, elongated unnatural, false forms of modern-tough, constructive effect. Convenience and form become the subject of theoretical speculation. 24. Furniture made of steel pipes, Mies van der Rohe, ca. 1930 form meets the characteristics of a new, flexible and lightweight material, the requirements of comfort and different from all earlier, the unusual shape of questionable sustainability. 25. Contemporary armchair, ca. 1940 A simple, natural, smooth, elegant and convenient form. Cushions are removable which is very hygienic. A good example of modern furniture seats.