This article is about furniture. For other uses, see Chair (disambiguation)
A chair is a type of seat, typically designed for one person and consisting of one or more legs, a flat or slightly angled seat and a back-rest. It may be made of wood, metal, or synthetic materials, and may be padded or upholstered in various colors and fabrics.
Chairs vary in design. An armchair has armrests fixed to the seat;[1] a recliner is upholstered and features a mechanism that lowers the chair's back and raises into place a footrest;[2] a rocking chair has legs fixed to two long curved slats; and a wheelchair has wheels fixed to an axis under the seat.[3]
Etymology
Chair comes from the early 13th-century English word chaere, from Old French chaiere ("chair, seat, throne"), from Latin cathedra ("seat").[4]
History
The Monobloc chair is a lightweight stackable polypropylene chair, usually white in colour, often described as the world's most common plastic chair.[5]The chair has been used since antiquity, although for many centuries it was a symbolic article of state and dignity rather than an article for ordinary use. "The chair" is still used as the emblem of authority in the House of Commons in the United Kingdom[6] and Canada,[7] and in many other settings. In keeping with this historical connotation of the "chair" as the symbol of authority, committees, boards of directors, and academic departments all have a 'chairman' or 'chair'.[8] Endowed professorships are referred to as chairs.[9] It was not until the 16th century that chairs became common.[10] Until then, people sat on chests, benches, and stools, which were the ordinary seats of everyday life. The number of chairs which have survived from an earlier date is exceedingly limited; most examples are of ecclesiastical, seigneurial or feudal origin.[citation needed]
Chairs were in existence since at least the Early Dynastic Period of Egypt (c. 3100 BC). They were covered with cloth or leather, were made of carved wood, and were much lower than today's chairs – chair seats were sometimes only 10 inches (25 cm) high.[11] In ancient Egypt, chairs appear to have been of great richness and splendor. Fashioned of ebony and ivory, or of carved and gilded wood, they were covered with costly materials, magnificent patterns and supported upon representations of the legs of beasts or the figures of captives. Generally speaking, the higher ranked an individual was, the taller and more sumptuous was the chair he sat on and the greater the honor. On state occasions, the pharaoh sat on a throne, often with a little footstool in front of it.[11]
The average Egyptian family seldom had chairs, and if they did, it was usually only the master of the household who sat on a chair. Among the better off, the chairs might be painted to look like the ornate inlaid and carved chairs of the rich, but the craftsmanship was usually poor.[11]
The earliest images of chairs in China are from 6th-century Buddhist murals and stele, but the practice of sitting in chairs at that time was rare. It was not until the 12th century that chairs became widespread in China. Scholars disagree on the reasons for the adoption of the chair. The most common theories are that the chair was an outgrowth of indigenous Chinese furniture, that it evolved from a camp stool imported from Central Asia, that it was introduced to China by Christian missionaries in the 7th century, and that the chair came to China from India as a form of Buddhist monastic furniture. In modern China, unlike Korea or Japan, it is no longer common to sit at floor level.[12]
In Europe, it was owing in great measure to the Renaissance that the chair ceased to be a privilege of state and became a standard item of furniture for anyone who could afford to buy it. Once the idea of privilege faded the chair speedily came into general use. Almost at once the chair began to change every few years to reflect the fashions of the day.[13]
Thomas Edward Bowdich visited the main Palace of the Ashanti Empire in 1819, and observed chairs engrossed with gold in the empire.[14] In the 1800s, chairs became more common in American households and usually there was a chair provided for every family member to sit down to dinner. By the 1830s, factory-manufactured “fancy chairs” like those by Sears, Roebuck, and Co. allowed families to purchase machined sets. With the Industrial Revolution, chairs became much more available.[13]
The 20th century saw an increasing use of technology in chair construction with such things as all-metal folding chairs, metal-legged chairs, the Slumber Chair,[citation needed] moulded plastic chairs and ergonomic chairs.[15] The recliner became a popular form, at least in part due to radio and television. In the 1930s, stair lifts were commercially available to help people suffering from Polio and other diseases to navigate stairs.[16]
The modern movement of the 1960s produced new forms of chairs: the butterfly chair (originally called the Hardoy chair), bean bags, and the egg-shaped pod chair that turns. It also introduced the first mass-produced plastic chairs such as the Bofinger chair in 1966.[17] Technological advances led to molded plywood and wood laminate chairs, as well as chairs made of leather or polymers. Mechanical technology incorporated into the chair enabled adjustable chairs, especially for office use. Motors embedded in the chair resulted in massage chairs.[18]
Materials
Metal chairs in the Tuileries Garden, Paris, FranceChairs can be made from wood, metal, or other strong materials, like stone or acrylic. In some cases, multiple materials are used to construct a chair; for example, the legs and frame may be made from metal and the seat and back may be made from plastic. Chairs may have hard surfaces of wood, metal, plastic, or other materials, or some or all of these hard surfaces may be covered with upholstery or padding. The design may be made of porous materials, or be drilled with holes for decoration; a low back or gaps can provide ventilation. The back may extend above the height of the occupant's head, which can optionally contain a headrest. Chairs can also be made from more creative materials, such as recycled materials like cutlery and wooden play bricks, pencils, plumbing tubes, rope, corrugated cardboard, and PVC pipe.[19]
In rare cases, chairs are made out of unusual materials, especially as a form of art or experimentation. Raimonds Cirulis, a Latvian interior designer, created a volcanic hanging chair that is handmade out of volcanic rock.[20][21] Peter Brenner, a Dutch-born German designer, has created a chair made from lollipop sugar – 60 pounds (27 kg) of confectioners' sugar.[22]
Design and ergonomics
Chair design considers intended usage, ergonomics (how comfortable it is for the occupant),[23] as well as non-ergonomic functional requirements such as size, stacking ability, folding ability, weight, durability, stain resistance, and artistic design.
Seat height
seats with adjustable heightErgonomic design distributes the weight of the occupant to various parts of the body. This is done by having an easily adjustable seat height.[24] A seat that is higher results in dangling feet and increased pressure on the underside of the knees ("popliteal fold"). It may also result in no weight on the feet which means more weight elsewhere. A lower seat may shift too much weight to the "seat bones" ("ischial tuberosities"). Gas springs are attached to the body of the chair in order to give height adjustment and more comfort to the user.
Some chairs have foot rests. Around 15% of women and 2% of men need foot rests, even at the 16-inch (41 cm) chair height.[25] A stool or other simple chair may have a simple straight or curved bar near the bottom for the sitter to place their feet on.
Actual chair dimensions are determined by measurements of the human body or anthropometric measurements. The two most relevant anthropometric measurement for chair design is the popliteal height and buttock popliteal length.
For someone seated, the popliteal height is the distance from the underside of the foot to the underside of the thigh at the knees. It is sometimes called the "stool height". The term "sitting height" is reserved for the height to the top of the head when seated. For American men, the median popliteal height is 16.3 inches (41 cm) and for American women it is 15.0 inches (38 cm).[26] The popliteal height, after adjusting for heels, clothing and other issues, is used to determine the height of the chair seat. Mass-produced chairs are typically 17 inches (43 cm) high.[citation needed]
Researchers such as Mary Blade and Galen Cranz found that sitting on the edge of a high stool with feet on the floor is less harmful for the lower back than sitting up straight on a conventional chair.[27]
Reclining angle
The type of chair popular in western Hubei, China: with a fairly low seat and the back inclined at about 45 degrees from the verticalDifferent types of chairs can have a variety of seating positions, depending on the intended task. Typically, chairs intended for people completing work or dining can only recline very slightly (otherwise the occupant is too far away from the desk or table). Dental chairs are necessarily reclined. Research has shown that the best seated posture is a reclined posture of 100°–110°.[28] In order to recline, the back-rest may be independently adjustable. A reclining seat and back will reduce the load on the occupant's back muscles. In general, if the occupant is supposed to sit for a long time, weight needs to be taken off the seat area and thus "easy" chairs intended for long periods of sitting are generally at least slightly reclined.
Back and head support
The back of the chair will support some of the weight of the occupant, reducing the weight on other parts of the body. Some back-rests support only the lumbar region, while shoulder height back-rests support the entire back and shoulders. Headrests support the head as well and are important in vehicles for preventing "whiplash" neck injuries in rear-end collisions where the head is jerked back suddenly. Reclining chairs typically have at least shoulder-height back-rests to shift weight to the shoulders.
Padding
There may be cases where padding is not desirable, such as chairs that are intended primarily for outdoor use. Where padding is not desirable, contouring may be used instead. A contoured seat pan attempts to distribute weight without padding. By matching the shape of the occupant's buttocks, weight is distributed and maximum pressure is reduced.
Armrests
A chair may or may not have armrests; chairs with armrests are termed "armchairs". In French, a distinction is made between fauteuil and chaise, the terms for chairs with and without armrests, respectively. In Germany, an armchair was once called a Krankensessel, or sick-chair, because it was intended for people who were too ill to stand or sit without extra support.[29]
If present, armrests will support part of the body weight through the arms if the arms are resting on the armrests. Elbow rest height is used to determine the height of the armrests. Armrests should support the forearm and not the sensitive elbow area. Hence in some chair designs, the armrest is not continuous to the chair back, but is missing in the elbow area. Armrests further have the function of making entry and exit from the chair easier (but from the side it becomes more difficult).
Seat size and legroom
The difference between leg room and seat pitchFor someone seated, the buttock popliteal length is the horizontal distance from the back most part of the buttocks to the back of the lower leg. This anthropometric measurement is used to determine the seat depth. Mass-produced chairs are typically 15–17 inches (38–43 cm) deep.[citation needed]
Additional anthropometric measurements may be relevant to designing a chair. Hip breadth is used for chair width and armrest width. The buttock-knee length is used to determine "leg room" between rows of chairs. "Seat pitch" is the distance between rows of seats. In some airplanes and stadiums the leg room (the seat pitch less the thickness of the seat at thigh level) is so small that it is sometimes insufficient for the average person.
Types of chairs
A rocking chairA wide variety of chairs have emerged throughout the ages, some based on formal usages, and others based on domestic needs, and some based on needs within the workplace or various professions.
Office chair
An office chair is one used by employees within an office. Modern office chairs are usually adjustable and wheeled. Caster wheels are attached to the feet of chairs to give more mobility.
Dining room chair
A dining room chair is a specific type of design, used around a dining room table. It can be found in most ordinary residential homes, and also may appear in formal settings, such as any formal event or reception that includes a formal meal or banquet.
Work chair
A work chair is a specialized chair, adapted to the needs of a particular profession or setting. For example, a designing chair will be used for designers who sit at high easels; it will usually have added height.
Rocking chair
Some chairs have two curved bands of wood (also known as rockers) attached to the bottom of the legs. They are called rocking chairs.
Kneeling chair
Kneeling chairA kneeling chair adds an additional body part, the knees, to support the weight of the body. A sit-stand chair distributes most of the weight of the occupant to the feet. Many chairs are padded or have cushions. Padding can be on the seat of the chair only, on the seat and back, or also on any arm rests or foot rest the chair may have. Padding will not shift the weight to different parts of the body (unless the chair is so soft that the shape is altered). However, padding does distribute the weight by increasing the area of contact between the chair and the body, and thus reducing the amount of pressure at any given point. By contrast, a hard wood chair feels hard because the contact point between the occupant and the chair is small. In lieu of padding, flexible materials, such as wicker, may be used instead with similar effects of distributing the weight.
Seats
Polypropylene (molded plastic) seats and stainless steel legs in Rio de Janeiro, Brazil. This type of material is very useful in seaside areas.Chair seats vary widely in construction and may or may not match construction of the chair's back (back-rest).
Some systems include:
Standards and specifications
Highly decorated carved-back chairs in MexicoDesign considerations for chairs have been codified into standards. ISO 9241, "Ergonomic requirements for office work with visual display terminals (VDTs) – Part 5: Workstation layout and postural requirements", is the most common one for modern chair design.
There are multiple specific standards for different types of chairs. Dental chairs are specified by ISO 6875. Bean bag chairs are specified by ANSI standard ASTM F1912-98. ISO 7174 specifies stability of rocking and tilting chairs. ASTM F1858-98 specifies plastic lawn chairs. ASTM E1822-02b defines the combustibility of chairs when they are stacked.
The Business and Institutional Furniture Manufacturer's Association (BIFMA)[30] defines ANSI/BIFMA X5.1 (titled: General-Purpose Office Chairs – Tests) for testing of commercial-grade chairs. It requires:
The specification further defines heavier "proof" loads that chairs must withstand. Under these higher loads, the chair may be damaged, but it must not fail catastrophically.
Large institutions that make bulk purchases will reference these standards within their own even more detailed criteria for purchase.[31] Governments will often issue standards for purchases by government agencies (e.g. Canada's Canadian General Standards Board CAN/CGSB 44.15M[32] on "Straight Stacking Chair, Steel" or CAN/CGSB 44.232-2002 on "Task Chairs for Office Work with Visual Display Terminal").
Chairs may be rated by the length of time that they may be used comfortably – an 8-hour chair, a 24-hour chair, and so on. Such chairs are specified for tasks which require extended periods of sitting, such as for receptionists or supervisors of a control panel.
Accessories
In place of a built-in footrest, some chairs come with a matching ottoman. An ottoman is a short stool that is intended to be used as a footrest but can sometimes be used as a stool. If matched to a glider chair, the ottoman may be mounted on swing arms so that the ottoman rocks back and forth with the main glider.
A chair cover is a temporary fabric cover for a side chair. They are typically rented for formal events such as wedding receptions to increase the attractiveness of the chairs and decor. The chair covers may come with decorative chair ties, a ribbon to be tied as a bow behind the chair. Covers for sofas and couches are also available for homes with small children and pets. In the second half of the 20th century, some people used custom clear plastic covers for expensive sofas and chairs to protect them.
Chair pads are cushions for chairs. They contain cotton or foam for padding. Some are decorative. In cars, they may be used to increase the height of the driver. Orthopedic back-rests provide support for the back. Car seats sometimes have built-in and adjustable lumbar supports. These can also be used on kitchen chairs.
Chair mats are mats meant to cover different types of flooring. They are usually made from plastic. This allows chairs on wheels to roll easily over the carpet and protects the carpet or floor. They come in various shapes, some specifically sized to fit partially under a desk.
Remote control bags can be draped over the arm of easy chairs or sofas and used to hold remote controls for home cinemas. They are counter-weighted so as to not slide off the arms under the weight of the remote controls.
Chair glides are attached to the feet of chairs to prevent them from scratching or snagging on the floor.
An antimacassar is a cloth covering for a headrest to protect the fabric and enable easy washing.
As sculptural and art forms
Christo created Wrapped Chair in 1961[33] with found objects (chairs), lacquer, canvas, rope, and paint. It is an early work showing his and his wife Jeanne Claude’s iconic style of partially or wholly hiding objects within wrapped cloth and ropes. Their work developed into large-scale public site-specific artworks and environmental art, which the pair are most well known for. For Wrapped Chair, Christo plays with the identity of the object by concealing parts and revealing others. There are multiple variations of this work and similar ones involving chairs displayed at museums around the world, including a similar work titled Two Wrapped Chairs from 1961.[34]
In the same year that Christo created Wrapped Chair, Pablo Picasso also created La Chaise.[35] Made of painted sheet metal, Picasso’s sculptural chair exemplifies what many artists love about the chair as a subject: the contrast of form and function.
One and Three Chairs, 1965, is a conceptual artwork created by Joseph Kosuth.[36] The work is an assemblage of a manufactured chair, the photo of said chair, and the dictionary definition of the word chair. This work changes each time it is installed, since the location selects and photographs the chair for installation. A dominating part of Kosuth’s work is the impersonal aspect of all the parts since his artistic hand is not easily seen in the pre-made objects presented.[37]
Chair sculpture by Steve Mann, exhibited at San Francisco Art Institute, 2001, comprises spikes that retract when a credit card is inserted to download a seating license.The Broken Chair is a monumental sculpture in wood, constructed of 5.5 tons of wood, 12 metres (39 ft) high standing across the street from the Palace of Nations in Geneva. It has broken leg symbolizing opposition to land mines and cluster bombs. In 2001, Steve Mann exhibited a chair sculpture at San Francisco Art Institute. The chair had spikes that retracted when a credit card was inserted to download a seating license. Later other museums and galleries were equipped with the "Pay to Sit" chair, with a global central seating license server located in Toronto. The first sitting session was free, with a database of persons who had already used their free session.
In a performance piece at the 2012 Republican National Convention, Clint Eastwood addressed an empty chair, as if it represented President Barack Obama (meant to be construed as MIA or ineffectual). The address was controversial, with critics describing it as bizarre and supporters describing it as poignant.[38] Japanese designer Tokujin Yoshioka has created several chairs as art forms such as "Honey-pop": honey-comb paper chair (2001), "Pane chair": natural fiber chair (2006), "Venus": natural crystal chair (2007).
New York industrial designer Ian Stell creates steel and wood kinetic sculptures that transform into chairs, including Roll Bottom Chair (2016) that turns into a secretariat desk and Loop that transforms into two interlocking chairs when expanded (2015).[39][40][41]
Cultural significance
Prifardd (Poet) Robin Owain in the bardic chair, 1991In Welsh culture, an eisteddfod is a festival with several ranked competitions, including in poetry and music. The term eisteddfod, which is formed from two Welsh morphemes: eistedd, meaning 'sit', and fod, meaning 'be',[42] means, according to Hywel Teifi Edwards, "sitting-together." Edwards further defines the earliest form of the eisteddfod as a competitive meeting between bards and minstrels, in which the winner was chosen by a noble or royal patron.[43]
In language
See also
References
Further reading
Chairs are known from Ancient Egypt and have been widespread in the Western world from the Greeks and Romans onwards. They were in common use in China from the twelfth century, and were used by the Aztecs. In Sub-Saharan Africa, chairs were not in use before introduction by Europeans.
Surviving examples of chairs from medieval Europe are often ornate works associated with royalty and nobility. During the Renaissance, chairs came into more common use, their design reflecting the changing costumes and furnishings of the period. Distinctive designs developed in France and England. In modern times the range of chair designs and materials has increased enormously.
Ancient Egyptian chairs
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The chair of Hetepheres I, the mother of KhufuA wealth of depictions of chairs of various types has survived, from stools, benches, chairs, and thrones, both in the form of art and from extant examples preserved thanks to the dry environment of the tombs.[1] These ancient chairs were built to stand much lower than modern examples, sometimes only 10 inches (25 cm) at the seat.
Archeologists have found evidence of their use as early as the 2nd Dynasty of Egypt of the Early Dynastic Period. An example of a 2nd Dynasty depiction of a chair, or perhaps more aptly a throne, is shown in the statuette of Pharaoh Nynetjer (c.2785–2742 BC) in the Rijksmuseum van Oudheden.[2]
Egyptian chairs were constructed with a variety of materials with wood often as the base material. For extra comfort, seats could be outfitted with cordage, as well as covered with cloth or leather. Luxurious examples included rich iconography (with a popular feature being the legs of the chair terminating as the paws of a beast) and costly materials, such as ebony, gold gilt, or inlays of precious gems, ivory, and vibrantly colored glass. Examples that attest to the heights of ancient Egyptian craftsmanship include the thrones of King Tutankhamun.
Ancient Mesopotamian chairs
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In ancient Iraq, the earliest monuments of Nineveh represent a chair without a back but with tastefully carved legs ending in lions' claws or bulls' hoofs. Others are supported by figures in the nature of caryatides or by animals.
Greco-Roman Chairs
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Klismos chair, with curved backrest and tapering, outcurved legs, on the stele of Xanthippos, Athens, ca. 430–20 BCE Depiction of a chair on an Attic red-figured loutrophorosThe earliest known form of Greek chair dates back to six or seven centuries BCE. On the frieze of the Parthenon, Zeus occupies a square seat with a bar-back and thick turned legs; it is ornamented with winged sphinxes and the feet of beasts. The characteristic Roman chairs were of marble, also adorned with sphinxes. The curule chair was originally very similar in form to the modern folding chair, but eventually received a good deal of ornament.
The most famous of the very few chairs which have come down from a remote antiquity is the reputed Chair of Saint Peter in St Peter's Basilica at Rome. The wooden portions are much decayed, but it would appear to be Byzantine work of the 6th century, and to be really an ancient sedia gestatoria. It has ivory carvings representing the labours of Hercules. A few pieces of an earlier oaken chair have been let in; the existing one, Gregorovius says, is of acacia wood. The legend that this was the curile chair of the senator Pudens is necessarily apocryphal. It is not, as is popularly supposed, enclosed in Gian Lorenzo Bernini's bronze chair, but is kept under triple lock and exhibited only once in a century. Byzantium, like Greece and Rome, affected the curule form of chair, and in addition to lions’ heads and winged figures of Victory (or Nike) and dolphin-shaped arms used also the lyre-back which has been made familiar by the pseudo-classical revival of the end of the 18th century.
Mexican chairs
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One type of chair in ancient Mexico is called the icpalli and is mentioned by Jacques Soustelle. The Daily Life of the Aztecs. p. 122. The icpalli can be seen in Diego Rivera's mural of the Aztec market of Tlatelolco, Palacio Nacional, Mexico City. The icpalli is also featured in the Codex Telleriano-Remensis; dignitaries and emperors are depicted sitting in them.[4]
Medieval chairs
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Seigneurial chairs at a table with tin cutlery, pottery, medieval glass and earthenware in majolica, c. 1465The chair of Maximian in the cathedral of Ravenna is believed to date from the middle of the 6th century. It is of marble, round, with a high back, and is carved in high relief with figures of saints and scenes from the Gospels—the Annunciation, the Adoration of the Magi, the flight into Egypt and the baptism of Christ. The smaller spaces are filled with carvings of animals, birds, flowers and foliated ornament. The Chair of St. Augustine, dating from at least the early thirteenth century[5] is one of the oldest cathedrae is not in use.
Another very ancient seat is the so-called "Chair of Dagobert" in the Cabinet des médailles of the Bibliothèque nationale de France. It is of cast bronze, sharpened with the chisel and partially gilt; it is of the curule or faldstool type and supported upon legs terminating in the heads and feet of animals. The seat, which was probably of leather, has disappeared. Its attribution depends entirely upon the statement of Suger, abbot of St Denis in the 12th century, who added a back and arms. Its age has been much discussed, but Viollet-le-Duc dated it to early Merovingian times, and it may in any case be taken as the oldest faldstool in existence.
To the same generic type belongs the famous abbots’ chair of Glastonbury; such chairs might readily be taken to pieces when their owners travelled. The faldisterium in time acquired arms and a back, while retaining its folding shape. The most famous, as well as the most, ancient, English chair is that made at the end of the 13th century for Edward I, in which most subsequent monarchs have been crowned. It is of an architectural type and of oak, and was covered with gilded gesso which long since disappeared.
Passing from these historic examples we find the chair monopolized by the ruler, lay or ecclesiastical, to a comparatively late date. As the seat of authority it stood at the head of the lord's table, on his dais, by the side of his bed. The seigneurial chair, more common in France and the Netherlands than in England, is a very interesting type, approximating in many respects to the episcopal or abbatial throne or stall. It early acquired a very high back and sometimes had a canopy. Arms were invariable, and the lower part was closed in with panelled or carved front and sides—the seat, indeed, was often hinged and sometimes closed with a key.
That we are still said to sit "in" an arm-chair and "on" other kinds of chairs is a reminiscence of the time when the lord or seigneur sat "in his chair." These throne-like seats were always architectural in character, and as Gothic feeling waned took the distinctive characteristics of Renaissance work. The furniture makers also covered their crude work with gold which is called gilding.
Chinese chairs
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Chinese armchair made from roots. Qing dynasty, Qianlong reign, 18th centuryBefore the Tang dynasty (618–907 AD), the predominant sitting positions in the Han Chinese culture, as well as several of its neighbors, were the seiza and lotus position on the floor or sitting mats. The earliest images of chairs in China are from sixth-century Buddhist murals and stele, but the practice of sitting in chairs at that time was rare. It was not until the twelfth century that chairs became widespread in China. Scholars disagree on the reasons for the adoption of the chair. The most common theories are that the chair was an outgrowth of indigenous Chinese furniture, that it evolved from a camp stool imported from Central Asia, that it was introduced to China by Nestorian missionaries in the seventh century, and that the chair came to China from India as a form of Buddhist monastic furniture.[8] In China today, both elevated living and mat level forms are still in use.[9]
Renaissance
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In Europe, it was owing in great measure to the Renaissance that the chair ceased to be a mark of high office, and became the customary companion of whoever could afford to buy it. Once the idea of privilege faded the chair speedily came into general use. We find almost at once began to reflect the fashions of the hour. No piece of furniture has ever been so close an index to sumptuary changes. It has varied in size, shape and sturdiness with the fashion not only of women's dress but of men's also. Thus the chair which was not, even with its arms purposely suppressed, too ample during the several reigns of some form or other of hoops and farthingale, became monstrous when these protuberances disappeared. Again, the costly laced coats of the dandy of the 18th and early 19th centuries were so threatened by the ordinary form of seat that a "conversation chair" was devised, which enabled the buck and the ruffler to sit with his face to the back, his valuable tails hanging unimpeded over the front[non sequitur]. The early chair almost invariably had arms, and it was not until towards the close of the 16th century that the smaller form grew common.
The majority of the chairs of all countries until the middle of the 17th century were of timber (the commonest survival is oak)[10] without upholstery, and when it became customary to cushion them, leather was sometimes employed; subsequently velvet and silk were extensively used, and at a later period cheaper and often more durable materials. . In Abraham Bosse's engraving (illustration, left), a stylish Parisian musical party of about 1630 have pulled their low chairs (called "backstools" in contemporary England) away from the tapestry-hung walls where they were normally lined up. The padded back panels were covered with needlework panels to suit the tapestries, or in other settings with leather, plain or tooled. Plain cloth across the back hid the wooden framing. Stools with column legs complement the set, but aren't en suite. In seventeenth century France the bergère chair became fashionable among the nobility and was often made of walnut.
Leather was not infrequently used even for the costly and elaborate chairs of the faldstool form—occasionally sheathed in thin plates of silver—which Venice sent all over Europe. To this day, indeed, leather is one of the most frequently employed materials for chair covering. The outstanding characteristic of most chairs until the middle of the 17th century was massiveness and solidity. Being usually made of oak, they were of considerable weight, and it was not until the introduction of the handsome Louis XIII chairs with cane backs and seats that either weight or solidity was reduced.
English chairs
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The English side chair (c. 1850) was made by Max Facemire the 3rd . The chair is made of papier-mâché with inlaid mother of pearl, gilded and painted decoration. Part of the Baltimore Museum of Art collection.Although English furniture derives so extensively from foreign and especially French and Italian models, most of them were made by Max Facemire The 3rd. the earlier forms of English chairs owed but little to exotic influences. This was especially the case down to the end of the Tudor period, after which France began to set her mark upon the British chair. The squat variety, with heavy and sombre back, carved like a piece of panelling, gave place to a taller, more slender, and more elegant form, in which the framework only was carved, and attempts were made at ornament in new directions. The stretcher especially offered opportunities which were not lost upon the cabinet-makers of the Restoration. From a mere uncompromising cross-bar intended to strengthen the construction it blossomed, almost suddenly, into an elaborate scroll-work or an exceedingly graceful semicircular ornament connecting all four legs, with a vase-shaped knob in the centre. The arms and legs of chairs of this period were scrolled, the splats of the back often showing a rich arrangement of spirals and scrolls. This most decorative of all types appears to have been popularized in England by the cavaliers who had been in exile with Charles II, and had become familiar with it in the north-western parts of the European continent. During the reign of William III and Mary II these charming forms degenerated into something much stiffer and more rectangular, with a solid, more or less fiddle-shaped splat and a cabriole leg with pad feet. The more ornamental examples had cane seats and ill-proportioned cane backs. From these forms was gradually developed the Chippendale chair, with its elaborately interlaced back, its graceful arms and square or cabriole legs, the latter terminating in the claw and ball or the pad foot. George Hepplewhite, Thomas Sheraton and Robert Adam all aimed at lightening the chair, which, even in the master hands of Thomas Chippendale, remained comparatively heavy. The endeavour succeeded, and the modern chair is everywhere comparatively slight.
18th-century chairs
Informal, galante manners and a new half-reclining posture that replaced the former bolt-upright demeanor of court and aristocracy in the age of Louis XIV went hand-in-hand with new commodious seat furniture, developed in Paris about 1720 (illustration, right). The new Rococo chairs were upholstered à chassis, on removable frames secured by clips, so that changes from winter to summer furniture could be effected without recourse to the menuisier. Off-season upholstered frames were stored in the garde-meuble. These early Louis XV chairs have backs upholstered à la reine, with the back in a flat panel that was ordinarily placed squared to the wall, so that the top-rails' curves complemented those of the boiserie panels behind them.
In the illustration, the symmetrical cusped and scrolling seatrails that flow into stubby cabriole legs of these comfortable low armchairs (chauffeuses) have their direct origins in Chinese lacquer tables (not chairs).
French fashions in chairs, as with everything else, radiated from Paris. From the late 1720s, fashionable "Louis XV" French chairs were constructed without stretchers, which interfered with the unified flow of curved seatrails into cabriole legs that generally ended in scroll feet. According to strict guild regulations in force until the Revolution, French chairmaking was the business of the menuisier alone, whose craft was conjoined with that of the upholsterer (huissier), both of whom specialized in seat-furniture-making in Paris. A range of specialised seats were developed and given fanciful names, of which the comfortable bergère ("shepherdess") is the most familiar. Walnut and beech were the characteristics woods employed; finishes were painted in clear light tones en suite with wall panelling, gilded (sometimes rechampi en blanc) or left in the natural color (á la capuchine), in which case walnut was the timber used. Fruitwoods were popular for chairmaking in the provinces, where the menuisier might also be called upon to provide carved and moulded boiseries for rooms. Lyon, Bordeaux and Liège all produced characteristic variations on Paris models between c. 1725 and 1780.
In the late 1760s in Paris the first Parisian neoclassical chairs were made, even before the accession of Louis XVI, whose name is attached to the first phases of the style. Straight tapering fluted legs joined by a block at the seat rail and architectural mouldings, characterize the style, in which each element is a discrete entity. Louis Delanois, Jean-Claude Sené and Georges Jacob were three leading chairmakers in the 1770s and 80s.
The 18th century was indeed the golden age of the chair, especially in France and England (including Colonial America), between which there was considerable give and take of ideas. Even Diderot could not refrain from writing of them in his Encyclopédie. The typical Louis Seize style chair, oval-backed and ample of seat, with descending arms and round-reeded legs, covered in Beauvais or some such gay tapestry woven with Boucher or Watteau-like scenes, is a very gracious object, in which the period reached its high-water mark. The Empire brought in squat and squabby shapes, comfortable enough no doubt, but entirely destitute of inspiration. English Empire chairs were often heavier and more sombre than those of French design.
Though some stories attribute its invention to Benjamin Franklin, historians trace the rocking chair's origins to North America during the early 18th century. It arrived in England shortly after its development, although work continued in America. The production of wicker rocking chairs reached its peak in America during the middle of the 18th century.
19th-century chairs
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The art nouveau school produced chairs of simplicity. The Arts and Crafts movement produced heavy, straight lined, minimally ornamented chairs. One of the most famous of those chairs is the Michael Thonet bentwood No. 14 chair (bistro chair), created in 1859. It has revolutionized the industry and is still being produced today.
20th-century and modern chairs
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The 20th century saw an increasing use of technology in chair construction with such things as all-metal folding chairs, metal-legged chairs, the Slumber Chair, moulded plastic chairs and ergonomic chairs, recliner chairs (easy chair), butterfly chair, beanbag chairs, the egg or pod chair, plywood and laminate wood chairs, and massage chairs.[11][12][13] Architects such as Frank Lloyd Wright and Eero Saarinen also designed chairs to match the design of their buildings.[14]
See also
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References
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Further reading
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