!!!Biedermeier

Biedermeier: The term B. - originally a derogatory name mocking 
conventional middle class comfort - was coined by A. Kussmaul and L. 
Eichrodt between 1855 and 1857 to describe the lifestyle of the 
Vormaerz period (pre-revolutionary period in Austria and Germany 
before 1848). The term has come to characterize the lifestyle and 
mentality as well as art and culture of the period between 1815 and 
1848. Art historians, however, use it primarily to describe interior 
design of the period.

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The characteristics of the Biedermeier "can be found all over Europe, 
but they were particularly evident in Austria during the Metternich 
era" (W. Kayser). In Austria, the Biedermeier culture penetrated all 
social classes and was therefore able to reach a level of pureness and 
sophistication hardly to be found anywhere else.

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An important factor that furthered the development of the Biedermeier 
was the disappointment felt after the political restauration of 1815 
and the subsequent withdrawal of the citizens from political and 
public life. After the solemn Baroque and dainty Rococo, the 
Biedermeier style constituted an escape into a snug, secluded life of 
pleasure. In Chancellor Metternich's police state, the bourgeoisie, 
although well off and respected, was excluded from any official 
business. As a consequence, personal, purely private interests became 
increasingly important. People went dancing, on daytrips to the 
country, or visited amusement parks, theatres, coffeehouses or a 
Heurigen tavern to forget about the struggles of everyday life with 
its social problems and the highly unstable political situation.

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Art and culture played an important role in the Biedermeier lifestyle, 
and the rising middle class actively supported all the various arts. 
The salons of these influential patrons became the homes of writers, 
composers, painters and sculptors as well as representatives of other 
areas of cultural life. Literary circles were organised, as well as 
soirees, discussions etc. For a young artist, an invitation to such an 
event could make or break his/her career.

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The literature of the B. period in Austria contains elements of 
classical and romantic works and was - unlike the liberal democratic 
ideas of the "Junges Deutschland" (Young Germany) movement - was 
mostly unpolitical. It projects a quiet intimacy based on self-control 
and resignation, its main principle being the "sanfte Gesetz" (gentle 
law) of nature. Typical writers of the B. period were A. Stifter 
(theoretical discourse in the preface to "Bunte Steine": "Das sanfte 
Gesetz", "Der Nachsommer"), F. Raimund, F. Grillparzer, E. v. 
Bauernfeld, F. Halm, I. F. Castelli, E. v. Feuchtersleben, J. G. Seidl 
etc.

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Although B. literature consisted primarily of epic works, theatre in 
Vienna flourished despite the strict censorship laws, with dialect 
folk plays by F. Raimund and J. Nestroy, which served as an outlet for 
people's secret thoughts and frustrations. Noted writers of the B. 
period were N. Lenau, A. Gruen, J. G. Seidl and F. Stelzhamer.

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In music, too, the balance shifted: The interested and generous 
patrons were no longer members of the nobility, but of the middle 
class. In 1812, the "Gesellschaft der Musikfreunde" (Association of 
Friends of Music) was founded, later the "Singverein" and the 
"Singakademie", followed by the "Vienna Philharmonic Orchestra" in 
1842. Family music became highly popular, quartets were set up and 
musical circles ("Schubertiaden") held in the houses of the 
bourgeoisie. Light music (Viennese waltz) also flourished. It was in 
fact during these years that Vienna gained its reputation as the 
centre of classical music.

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Painting during the B. period moved away from the historical subjects 
of the classical period. Painters now focused on depicting realistic 
scenes of daily life.

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B. painting was characterised by charming, contemplative subjects and 
a great love of detail. Despite these characteristics, a certain 
amount of social criticism is at times discernible, especially in 
genre painting, which originated from 16%%sup th/%  century Dutch 
painting and reached new heights during the B. period. Its most 
important representatives in Austria were J. Danhauser, P. Fendi, C. 
Schindler, F. G. Waldmueller (up to a certain point), J. M. Neder, E. 
Ritter, F. Gauermann, J. B. Reiter, J. M. Ranftl and F. Treml.

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Along with genre painting, landscape painting also flourished. Artists 
increasingly began to travel through the Alps, the countries of the 
Habsburg monarchy and Italy and on their travels painted realistic, 
often deeply personal landscape portraits showing for example 
untouched corners or conveying a wildly romantic, adventurous 
atmosphere. Portraying the forces of nature, thunderstorms, floods, 
volcanic eruptions or solar eclipses, is a typical feature of the 
Romantic-Naturalist school of painting. The most important landscape 
painters of the B. were F. G. Waldmueller, F. Gauermann, J. Hoeger, F. 
Steinfeld, R. M. Toma, R. v. Alt, T. Ender and A. Stifter.

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The love of naturalistic detail is also evident in the countless 
floral still lifes (e.g. by J. Lauer, J. Nigg, J. Knapp, S. Wegmayr, 
F. X. Petter) and herbaries (e.g. by M. M. Daffinger, J. Alt) as well 
as in large series of drawings of insects and the like.

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Portrait painting became one of the most important branches of 
pictorial art (e.g. M. M. Daffinger), and miniatures were particularly 
popular. Due to the rise in status of the middle classes, a whole new 
group of clients had evolved who were eager to have their portraits 
painted. Very popular were single or group portraits as well as family 
portraits by F. G. Waldmueller, F. v. Amerling, J. N. Ender, A. 
Einsle, M. M. Daffinger, F. Eybl, L. Kupelwieser, J. P. Krafft and J. 
Kriehuber. In the mid - 19%%sup th/%  century, however, photography 
gradually began to overtake portrait painting in popularity. Picture 
copying techniques were greatly promoted by the development of 
lithography. Within only a few years, various famous art print and 
publishing houses were opened in Vienna, concentrating on publishing 
documentary series like topographical landscape series, folders 
containing natural history prints or prints portraying different 
professions and humorous scenes as well as fashion and portrait 
prints.

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Sculpture played a negligible role during the Biedermeier period. Most 
of the very few large sculptures were modelled when soft, some also 
when dry. Small sculptures like painted china figurines or 
bric-à-brac should also be mentioned in this context.

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Craftsmen during the B. period produced some remarkable glass objects. 
Painted, etched and cut glasses, beaded or personalised cups were 
popular presents and souvenirs. Important artists working with glass 
were G. S. Mohn, A. Kothgasser and J. J. Mildner.

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In architecture, the late 18%%sup th/%  century had already prepared 
the ground for the tasteful simplicity of B. houses. Home was the most 
important aspect of B. culture. Furniture was simple, graceful and 
functional, with its clear-cut, slightly curved lines being emphasised 
by floral and striped prints and wallpaper. Some pieces of furniture, 
such as bentwood furniture developed by M. Thonet were already 
designed for mass production.

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This specifically Austrian style of home decor was rediscovered around 
the turn of the century. Especially in architecture and in the arts 
and crafts, a Neo-Biedermeier movement can be discerned, running 
parallel to the Jugendstil and Secession movements until around 1918. 
Its ideas lived on within the Oesterreichischer Werkbund association. 
A new concern with personal values such as family life or home has 
made the Biedermeier period appear as the "golden age" during the last 
decades.

!Literature
Buergersinn und Aufbegehren - Biedermeier und Vormaerz in 
Wien 1815-48, exhibition catalogue, Historisches Museum der Stadt 
Wien, 1987/88; G. Frodl, Wiener Malerei der Biedermeierzeit, 1987; 
Wiener Biedermeier-Malerei zwischen Wiener Kongress und Revolution, 
exhibition catalogue, Vienna 1993.


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