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Eastlake's book Hints on Household Taste in Furniture, Upholstery, and Other Details posited that furniture and decor in people's homes should be made by hand or machine workers who took personal pride in their work. Manufacturers in the United States used the drawings and ideas in the book to create mass-produced Eastlake Style or Cottage ...
Duke University and The University of Brussels have developed an art conservation tool that uses X-rays and algorithms to analyze the paintings. To better image the art piece, for it is of wood sections (cradles) the machine called Platypus or the computer math program sorts out the wood and finely visualizes the original art.
Straight lines are common. [5] Paint, stains, or different kind of wood were used to create contrasting colors, which was another element of this style. [1] Japanning, a technique of varnishing which was very popular at the time, was also used on this furniture design. [5] For chairs, woven cane seats [6] and heavily-scrolled backs predominated ...
Although marquetry is a technique separate from inlay, English marquetry-makers were called "inlayers" throughout the 18th century. In Paris, before 1789, makers of veneered or marquetry furniture (ébénistes) belonged to a separate guild from chair-makers and other furniture craftsmen working in solid wood (menuisiers).
Whereas "corbel" is rarely used outside architecture, "console" is widely used for furniture, as in console table, and other decorative arts where the motif appears. The word corbel comes from Old French and derives from the Latin corbellus, a diminutive of corvus ("raven"), which refers to the beak-like appearance.
Though not, as frequently asserted, the inventor of wood-engraving, he was the first to recognise that, as the incisions made by the graver on the wood block printed white, the right use of the medium was to base his designs as much as possible on white lines and areas, and so he became the first to use his graver as a drawing instrument and to ...
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Its vertical lines are always breaking through the horizontal of the invading classic; its reverend monsters look with special unkindness on the fantasticism of the new monsters that Cellini described as the promiscuous breed of animals and flowers; its ornaments insist upon their right before the Grecian; in architecture its gables still rise ...