Czytaj wi\u0119cej<\/p>\n
Read more about this artist \/ creator<\/p>\n
Linke was born on June 17, 1855 in the small Czech village of Deutsch Pankraz, now known as J\u00edtrava in the Czech Republic. The data show that Linke had an apprenticeship with a carpenter by the name of Neumann, who he graduated in 1877. [1] Linke's work book or Arbeits-Buch records that he stayed in Vienna from July 1872. Until October 1873 [1] ] during the International Exhibition, which took place in 1873.<\/p>\n
Linke then traveled to Prague, Budapest and Weimar before finally arriving in Paris in 1875. It has been documented that he obtained employment with an unknown German carpenter in Paris, and stylistic similarities, photographs and geographic proximity led some [3] to suggest that Emmanuel Zwiener was the most likely candidate. After spending some time in his hometown, he returned to Paris once and for all in 1877. In 1878, the third major International Exhibition was held in Paris, which was a remarkable success for a country ravaged by war just seven years earlier. It is known that the newly established Linke workshops operated in Faubourg St. Already in 1881, Antoine [4] supplied furniture to other more famous designers, such as Jansen and Krieger.<\/p>\n
In 1889, another World Fair was held in Paris, which was often talked about in America. Gustave Eiffel erected what has become the most iconic building in Paris for the exhibition, and an atmosphere of wealth and confidence might have encouraged Linke to think that he could make an important contribution to the next major exhibition. As early as 1892 it was announced that it was taking place at the end of the century in an attempt to stop Berlin from putting on the last great show of the century<\/p>\n
In 1892, Victor Champier [fr], one of the commissioners of the Paris Fair in 1900, appealed: "Create in the way of masters, do not copy what they have done" [5]. It was an appeal against mere reproduction, and Linke took on this challenge in an unprecedented way with his unique display, which was to include the Grand Bureau. [6]<\/p>\n
Determined to outshine the competition at the Exhibition, Linke decided to create the most ambitious works he could imagine and more extravagant than ever before. The objects he presented marked a transition from an historical interpretation of the styles of Louis XV and Louis XVI, an interpretation that was the basis of his closest rivals, to something surprisingly new and essential in its directness. [7] With L\u00e9on Messag\u00e9, he developed a new style for the 1900 exhibition that paid tribute to Louis XV in Rococo in the fluidity of his approach, but this approach is combined with the vibrant flowing lines of contemporary and progressive Art Nouveau. The Art Journal published in 1900 at the Linke booth:<\/p>\n
The work of M. Linke ... was an example of what can be done by looking for inspiration among the classic examples of Louis XV and XVI without copying these great works in a great sense. The work of M. Linke was original in the true sense of the word and as such recommended itself to an intelligent seeker for the truly artistic things of the exhibition. A great talent was used to produce the wonderful furniture on display \u201d[8].<\/p>\n
Linke's position would have seemed refreshingly new to contemporary observers, traditional 18th century designs blending seamlessly into exuberant naturalism. The Revue described Linke's style as "enti\u00e8rement nouveaux" and noted: "This opinion is widely accepted. The Linke stand is the greatest show in the history of artistic furniture in 1900 \u201d[9].<\/p>\n
It is perhaps the most remarkable and extraordinary aspect of Linke's personal history that he produced such expensive and luxurious furniture of exceptional quality for an exhibition in 1900, with no commission or potential buyer [10]. As other, more famous furniture companies, such as Beurdeley and Dasson, were closing, he made a huge investment in his stand and the furniture he provided. Linke realized that in order to expand his business, he had to appeal to a more international clientele and new wealthy emerging people who were amassing fortunes on an unprecedented scale during this time. For this reason, he played everything he had at the 1900 show. If this failed, he would almost certainly go bankrupt. Linke's notebook records visitors to his stand from England, Europe, the Americas, Egypt and Japan, including: King of Sweden, three visits of the King of Belgium, Prince Radziwi\u0142\u0142, Prince d'Arenberg, Comte Alberic du Chastel, Miss Anna May Gould, American heiress, prominent furniture manufacturer and French President Emile Loubet.<\/p>\n
This risky venture was a huge success, and thanks to its reputation, La Maison Linke became an outstanding furniture house until the outbreak of World War II. The technical splendor of his work and the artistic change he represents will never be repeated. Its lounges expanded to prestigious rooms in Paris on Place Vend\u00f4me, as well as Faubourg St. Antoine, where his workshops were established. He undertook many important commissions in the years until the outbreak of World War I, creating and designing furniture for leading international industrialists and bankers.<\/p>\n
After World War I, Linke undertook an emergency furnishing commission for the Ras al-Tin Palace in Alexandria for the King of Egypt, Fuad, arguably the largest single furniture commission ever devised, overshadowing even Versailles. Linke flourished and remained active until the mid-1930s and died in 1946 [11].<\/p>","protected":false},"excerpt":{"rendered":"
Serwantka o falistych liniach szkieletu, przeszklona z trzech stron w g\u00f3rnej partii, zamykana jednoskrzyd\u0142owo. We wn\u0119trzu trzy p\u00f3\u0142ki, dwie szklane, dolna wyklejona tkanin\u0105. Korpus zwie\u0144czony kasetonowo, wsparty na wysokich gi\u0119tych n\u00f3\u017ckach, ozdobiona rocailowymi okuciami z br\u0105zu z\u0142oconego. Na skrzydle drzwi oraz bok\u00f3w u do\u0142u dekorowana intarsjami w kratownic\u0119.<\/p>\n
Nasze meble s\u0105 w stanie orginalnym !!!<\/p>\n
Po to, aby klient widzia\u0142 co kupuje, ale i te\u017c po to, aby mebel nie traci\u0142 na warto\u015bci. Na rynku jest wielu sprzedawc\u00f3w co sprzedaje tzw. sk\u0142adaki lub w par\u0119 dni przeprowadza renowacj\u0119.<\/p>\n
Nasze meble je\u015bli przechodzi\u0142y renowacj\u0119 to tylko w renomowanych pracowniach konserwatorskich, z pe\u0142n\u0105 dokumentacj\u0105, Je\u015bli klient ma potrzeb\u0119 przeprowadzenia renowacji pomagamy we wszystkim.<\/p>\n
Polecamy bo orginalnych mebli coraz mniej.<\/p>\n
Stan: orginalny, bardzo dobry, mebel przypisywany pracowni Francois Linke, zamek sygnowany Parysk\u0105 pracowni\u0105 !!!<\/p>\n
Materia\u0142; R\u00f3\u017ca palisander, br\u0105z z\u0142ocony<\/p>\n
Dimensions: height 142 cm, length 66 cm, width 39 cm<\/p>\n
poni\u017cej informacje o meblu<\/p>\n
RZADKO\u015a\u0106 ORGINA\u0141 serwantka Francois Linke Orgina\u0142 przypisywana<\/p>\n
'CT LINKE \/ SERRURERIE \/ PARIS' is stamped on the vitrines locks. Fran\u00e7ois Linke was one of the most important carpenters of all time. He was active in Paris at the turn of the 19th and 20th centuries, creating beautiful furniture in the style of French design from the 18th century.<\/p>","protected":false},"featured_media":5255,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"product_cat":[17,37],"product_tag":[],"class_list":{"0":"post-5254","1":"product","2":"type-product","3":"status-publish","4":"has-post-thumbnail","6":"product_cat-meble","7":"product_cat-witryny-serwantki","9":"entry","10":"has-media","12":"first","13":"instock","14":"taxable","15":"shipping-taxable","16":"purchasable","17":"product-type-simple","18":"has-product-nav","19":"col","20":"span_1_of_3","21":"owp-content-center","22":"owp-thumbs-layout-horizontal","23":"owp-btn-normal","24":"owp-tabs-layout-horizontal"},"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/antykilion.pl\/en\/wp-json\/wp\/v2\/product\/5254","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/antykilion.pl\/en\/wp-json\/wp\/v2\/product"}],"about":[{"href":"https:\/\/antykilion.pl\/en\/wp-json\/wp\/v2\/types\/product"}],"replies":[{"embeddable":true,"href":"https:\/\/antykilion.pl\/en\/wp-json\/wp\/v2\/comments?post=5254"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/antykilion.pl\/en\/wp-json\/wp\/v2\/media\/5255"}],"wp:attachment":[{"href":"https:\/\/antykilion.pl\/en\/wp-json\/wp\/v2\/media?parent=5254"}],"wp:term":[{"taxonomy":"product_cat","embeddable":true,"href":"https:\/\/antykilion.pl\/en\/wp-json\/wp\/v2\/product_cat?post=5254"},{"taxonomy":"product_tag","embeddable":true,"href":"https:\/\/antykilion.pl\/en\/wp-json\/wp\/v2\/product_tag?post=5254"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}