Neoclassicism - Denmark and Norway

The formal introduction of Neoclassical decoration to Denmark occurred in 1757 when the French architect Nicolas Jardin employed it in a scheme for a room in the palace of a Copenhagen nobleman. His pupil, C.F. Harsdorff (1735 - 1799), subsequently designed some agreeable not fitted furniture in rather plain mahogany relieved with classical columns set at the corners of carcase pieces and with deep friezes carved with Greek key and anthemion patterns.

High standards of craftsmanship were maintained by the guilds and by the Academy of Copenhagen, set up in the 1750s under the direction of the sculptor Jacques-Francois Saly (1717 - 1776). The system whereby a 'masterpiece' has to be submitted to the guild before its maker was accepted as a member was made more strict, designs for the piece first having to be approved by the Academy. Saly, who had first come to Denmark in 1753 to make a statue of King Frederick V (reigned 1746 - 1766), did not return to Paris until 1774.

Three years later, the Kongelige Meubel Magazin (Royal Furniture Emporium) was established. Georg Roentgen, one of the famous family of German cabinet-makers, made a visit to this factory, and although his stay was a short one, he helped to revive interest in the neglected art of floral marquetry. The directorship was taken over in 1781 by the Norwegian statesman Carsten Anker. Norway was still tied politically to Denmark and contributed many men of great ability to the government as well as the cultures of the two countries. Perhaps due partly to the influence of the queen (who was a sister of the English King George III, who reigned 1766 - 1808), Anker was an enthusiast for English styles and despatched craftsmen from the Emporium to London to improve their skills. Jens Brotterup was one such craftsman who, on his return to Copenhagen, passed on his knowledge to others. The result was the production of a great deal of handmade furniture of basically English design (especially chairs with square backs having vertical struts and standing on square tapered legs), but which also demonstrated the Danish liking for clean lines uncluttered by excessive decoration.

Norwegian furniture of the period tends to follow Danish styles very closely, but the proportions are a little different, resulting in a heavier, more sturdy style.