Unfortunately just like in the 19th century, art historians of the 20th century indiscriminately labelled the style of the nouveau rich and merchants as bad taste the words “historicism” and “eclecticism” resonated like an insult. Extraordinary results were achieved in the presence of aesthetic sense and measure, however their absence generated bad taste. The most creative authors were capable of converging elements of different styles within a single object, said style was defined as eclecticism. Later all this was defined as historicist style.
In response to demand, architects and cabinet makers emerged, specialised in neo-gothic, neo-renaissance, neo-baroque and other historic styles interpreted in accordance with tastes and ideas of 19th century comfort. Soon after passion for historical styles developed into a fashion. Initially such tastes were synonymous with erudition, culture and paradoxically, interest in all that was new in the scientific field. A century and a half ago, in the midst of the industrial Revolution, during which time art history was developed as a science, everyone who had managed to put aside a little money dreamed of an abode and furnishings reminiscent of antiquity. Indeed an understanding of preferences regarding interiors enables us to create an interior which effectively panders to our soul, body and eyes.Ī general love of styles from the past is by no means a new phenomenon. But what is it that we define as classic? And why is it that in the Ukraine (not to mention the entire former Soviet Union area), this type of furniture has surpassed all previous records of popularity? These are far from useless questions. The belief is that a furniture piece in so-called classical style is suitable for any house and never goes out of fashion. The art critic and architecture historian Ekaterina Lipa on historicism in interior design. Living room interior, Rampoldi Creations.Furniture from the Ambiente Giorno Collection, Savio Firmino.
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