Catherine II was Russia’s last reigning empress. She was fierce and moxie but she was also smart. She knew to show Russia’s power to the world, Russia has to grow as an artistic nation. Her eye for luxurious and exquisite art and especially furniture changed Russia’s stance as an artistic nation and was seen as a high-class nation at par with Europe.
It is said that Catherine II surrounded herself with extremely provocative and opulent items. More than merely practical, Catherine the Great’s furniture was a crucial component of the opulent architectural designs executed by renowned designers such as Vincenzo Brenna and Charles Cameron. Architects of her day considered furniture to be an integral part of interior design, guaranteeing a smooth transition of style from ornate ceilings and mantelpieces to the chairs, tables and single-layer cabinets themselves.
The Rococo Style
The Rococo style originated in France at the beginning of the 18th century. It was renowned for the elaborate decoration, light colours, curved shapes and asymmetry. in this have emphasised playfulness, elegance and refinement over symmetry or grandeur. It used motifs like florals and cherubs on gilded wood or pastel lacquer. The Rococo style conveyed opulence as power.
The chairs by renowned French furniture maker Nicolas-François Gillet are arguably the most well-known example of Rococo influence in Catherine the Great’s furniture collection. These chairs exhibit elegance and sophistication in Rococo design with their gilded finish and carvings. It is an excellent illustration of the considerable skill and care used to bring Western European beauty into the Russian court.
Some of Catherine’s notable Rococo style furniture pieces include the gilded blue armchair and sofa, console tables with marble tops and gilt wood, mirror frames, mechanical cabinets designed by Jean-François Oeben and David Roentgen, secrétaires (desks) and more.
Neoclassical Style
In response to the excesses of Rococo, the Neoclassical style arose in the latter part of the 18th century. It was inspired by the aesthetics of the European cities of Greece and Rome. Neoclassical furniture celebrated symmetry and elegance, with restrained cornering for the gods of ancient Greece and Rome in art and architecture. Neoclassical design emphasised clean lines and delicate aestheticism. Several of these pieces were ordered by Catherine the Great.
Compared to the Rococo style, Neoclassical components were characterised by heavier, more structural forms and the prominent use of both native marbles and foreign stones, such as red agate and green jasper. This was especially evident in the Louis XVI-style furniture at Pavlovsk. A distinctive and significant style was produced by this intriguing mix.
Catherine’s love of Neoclassicism becomes clear in the Winter Palace’s Malachite Room. This opulent room’s furniture has period-specific elements including geometric shapes, straight lines, and traditional ornamentation like laurel wreaths and acanthus leaves. Additionally, more costly materials like marble, gold and malachite are employed to further elevate and enhance Neoclassicism.
Her mechanical desk, astronomical clock, cabinet with wedgwood medallions, salon suites remain renowned among her other neoclassical furniture
Catherine’s Love For Erotica
Catherine the Great’s femininity and strong sexuality were crucial in determining her political approach and how her legacy was viewed. This reflected in her art and furniture as well. This was the risque furniture of the Catherine Era.
The story of Catherine the Great’s alleged “erotic cabinet,” a secret collection of furnishings and décor allegedly reflecting her renowned sexual appetite, is among the most intriguing stories associated with her. An entire wall was supposedly covered with elaborately carved wooden phalluses of various patterns, while the furnishings allegedly featured seats, workstations and screens displaying obscene artwork. These works were made during Catherine’s reign but were buried when her son, Paul I, took the throne.This could be because he disapproved of his mother’s sexual heritage.
A collection of photos allegedly shot by Wehrmacht soldiers during the Nazi occupation of Tsarskoye Selo in 1941 provide the best proof that such a chamber exists. According to reports, the troops discovered this hidden boudoir while taking pictures of a table and chair from the collection. Confusion is increased when other sources claim that the images were taken by Soviet forces. The palace was bombarded shortly after the purported discovery, and it was thought that the ensuing flames destroyed all of its belongings, including the notorious furniture.
Russian Craftsmanship
Catherine encouraged the growth of Russian artisan traditions even if she enjoyed European furnishings. She saw the need of fostering local artists and creating a unique Russian creative identity. Russian craftsman were hired to produce one-of-a-kind items that blended traditional Russian components with European styling. These items frequently included conventional themes like religious symbols and floral designs as well as elaborate enamel work and needlework.
Furniture Made of Tula Steel During Catherine’s reign, one of the most prominent contributions of Russian craftsmanship was the production of Tula steel furniture. Already well-known for its metallurgical heritage, Tula developed into a hub for the manufacture of steel furniture in the 18th century. The intricate design, robustness and labour-intensive nature of the production process account for their high appreciation.
Karelian birch, a native Russian wood renowned for its exquisite grain pattern and exceptional durability, was one of the most remarkable additions to Catherine the Great’s furniture collection. Furniture crafted from Karelian birch was quite popular under Catherine. The Russian artisans created incredibly detailed veneered and marquetry pieces that highlighted the wood’s beauty.
Role of European Artists
The beauty and sophistication of the furniture items Catherine commissioned show the influence of French designers such as Francois-Honoré-Georges Jacob and Jean-Baptiste-Claude Sené. She frequently sent her own designers and artisans to France to research the newest furniture design trends in an attempt to imitate the opulence of the French court.
German cabinetmaker David Roentgen is well-known for his mechanical concealed drawers. Her Neoclassical interiors were created by Scottish architect Charles Cameron.
Catherine The Great Furniture Impact On Russia
A golden era of workmanship was ushered in by Catherine’s persistent support, which greatly improved Russian interior design to meet European standards. Her taste for rococo elements, French neoclassical style and mechanical inventiveness impacted Russian upper-class interior trends. Her furniture suggested elegance, intelligence and worldliness, all of which the aristocracy embraced in addition to the beauty.
Conclusion
Catherine curated an empire of taste, influencing generations of Russian nobility and court design. She also set new standards in Russian decorative arts. She created a collection that showcased the might of the empire and her own refinement by working with leading designers and craftspeople.
Her repaired pieces still evoke wonder today, serving as a reminder that furniture may serve as more than just a practical component; it can also represent a time period, a monarch or a cultural revolution. Her furniture legacy endures to this day in Russia’s imperial palaces and important museums, contributing significantly to the world’s cultural legacy.
