[et_pb_section fb_built=”1″ fullwidth=”on” _builder_version=”3.26.3″][et_pb_fullwidth_menu fullwidth_menu=”on” active_link_color=”#ac4003″ dropdown_menu_bg_color=”#ffffff” dropdown_menu_line_color=”#cfdbcf” dropdown_menu_text_color=”#7aa397″ mobile_menu_text_color_phone=”#065053″ mobile_menu_text_color_last_edited=”on|desktop” _builder_version=”3.26.3″ menu_font=”PT Sans|||on|||||” menu_text_color=”#065053″ menu_font_size=”12px” background_color=”#cfdbcf” border_color_all=”#065053″ border_width_bottom=”2px” border_color_bottom=”#065053″ text_orientation=”center” width=”100%” max_width=”100%” overflow-x=”visible” overflow-y=”visible” custom_margin=”||||false|false” z_index=”500″ global_module=”167″ saved_tabs=”all”][\/et_pb_fullwidth_menu][\/et_pb_section][et_pb_section fb_built=”1″ fullwidth=”on” _builder_version=”3.26.3″ background_enable_image=”off”][et_pb_fullwidth_header title=”Nature as Symbol:” subhead=”Gall\u00e9’s Motifs” admin_label=”Title” _builder_version=”3.26.3″ title_font=”Flamenco|700||||on|||” title_text_color=”#065053″ title_font_size=”60px” title_line_height=”1.1em” content_font=”PT Sans||||||||” content_text_color=”#000000″ subhead_font=”PT Sans|||on|||||” subhead_text_align=”left” subhead_text_color=”#ac4003″ subhead_font_size=”22px” content_link_text_color=”#7aa397″ background_color=”rgba(0,0,0,0)” background_image=”http:\/\/edspace.american.edu\/emilegallesfurniture\/wp-content\/uploads\/sites\/2166\/2023\/03\/Cover-Page-Background.png” parallax=”on” border_width_bottom=”2px” border_color_bottom=”#065053″ custom_button_one=”on” button_one_text_color=”#065053″ button_one_bg_color=”#cfdbcf” button_one_border_color=”#065053″ button_one_font=”PT Sans||||||||” button_one_icon=”%%20%%” button_one_icon_color=”#065053″ custom_margin=”|||-143px|false|false” custom_margin_phone=”|||0px|false|false” custom_margin_last_edited=”on|desktop” custom_padding=”||||false|false”][\/et_pb_fullwidth_header][\/et_pb_section][et_pb_section fb_built=”1″ admin_label=”Body” _builder_version=”3.26.3″ width=”100%” custom_padding=”0px||0px|||”][et_pb_row make_equal=”on” _builder_version=”3.26.3″ width=”85%” max_width=”none” overflow-y=”hidden”][et_pb_column type=”4_4″ _builder_version=”3.26.3″ overflow-y=”hidden”][et_pb_text quote_border_color=”#cfdbcf” _builder_version=”3.26.3″ text_font=”PT Sans||||||||” link_font=”PT Sans||||||||” link_text_color=”#7aa397″ quote_font=”PT Sans|700|||||||” quote_text_align=”right” quote_text_color=”#065053″ quote_font_size=”16px” width=”100%” custom_padding=”||5px|||”]<\/p>\n
In the same manner of painters and sculptors, Gall\u00e9 incorporated deeper meaning into his works through the motifs he chose to render. Gall\u00e9 repeated the motif of the lifecycle across several works, such as in Bananier Sellette<\/em>\u2019s<\/a> display of the banana tree\u2019s multiple stages of bloom. Gall\u00e9\u2019s motifs also include references to historical and current events and politics, as seen in his Le Rhin <\/em><\/a>Table, and Symbolist poetry, from which he took quotes and embedded them into the marquetry. By incorporating these motifs that held profound meaning, Gall\u00e9 moved his works beyond the role of being beautiful, functional objects. Like other artists of his time, Gall\u00e9 endeavored to imbue his works with deeper meaning that could be unraveled by the viewer.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,1_3,1_3″ custom_padding=”|30px||30px|false|false” make_equal=”on” _builder_version=”3.26.3″ border_color_all=”#cfdbcf” width=”85%” max_width=”none”][et_pb_column type=”1_3″ _builder_version=”3.26.3″ overflow-y=”hidden”][et_pb_image src=”https:\/\/www.dropbox.com\/s\/jqj8r7b4su4rzcz\/Figure%2028-%20%C3%89mile%20Gall%C3%A9%2C%20%C3%89tag%C3%A8re%20aux%20Ombellif%C3%A8res%20%28also%20Les%20Ombellules%20%C3%A9tag%C3%A8re%20de%20salon%29%2C%201900-02..png?raw=1″ show_in_lightbox=”on” admin_label=”Figure 28″ _builder_version=”3.26.3″][\/et_pb_image][et_pb_text admin_label=”Figure 28 Caption” _builder_version=”3.26.3″ text_font=”PT Sans Caption||||||||” text_text_color=”#7aa397″ text_font_size=”11px” text_line_height=”1.2em” custom_margin=”-24px|||||” custom_padding=”5px|||||”]<\/p>\n Figure 34:\u00a0<\/strong>\u00c9mile Gall\u00e9,\u00a0<\/span>\u00c9tag\u00e8re aux Ombellif\u00e8res<\/em>\u00a0(also\u00a0<\/span>Les Ombellules\u00a0<\/span><\/em>\u00e9tag\u00e8re de salon) [Front], 1900-02. Walnut with marquetry panels, 151 x 67.5 x 47.3 cm. Mus\u00e9e des Beaux Arts, Reims.<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”3.26.3″ overflow-y=”hidden”][et_pb_image src=”https:\/\/www.dropbox.com\/s\/rk48dgzxbk5v8rq\/Figure%2029-%20%C3%89mile%20Gall%C3%A9%2C%20%C3%89tag%C3%A8re%20aux%20Ombellif%C3%A8res%20%28also%20Les%20Ombellules%20%C3%A9tag%C3%A8re%20de%20salon%29%2C%201900-02..png?raw=1″ show_in_lightbox=”on” admin_label=”Figure 29″ _builder_version=”3.26.3″ width=”93.5%”][\/et_pb_image][et_pb_text admin_label=”Figure 29 Caption” _builder_version=”3.26.3″ text_font=”PT Sans Caption||||||||” text_text_color=”#7aa397″ text_font_size=”11px” text_line_height=”1.2em” custom_margin=”-24px|||||” custom_padding=”5px|||||”]<\/p>\n Figure 35:\u00a0<\/strong>\u00c9mile Gall\u00e9,\u00a0<\/span>\u00c9tag\u00e8re aux Ombellif\u00e8res<\/em>\u00a0(also\u00a0<\/span>Les Ombellules\u00a0<\/span><\/em>\u00e9tag\u00e8re de salon) [Left Side], 1900-02. Walnut with marquetry panels, 151 x 67.5 x 47.3 cm. Mus\u00e9e des Beaux Arts, Reims.<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”3.26.3″ overflow-y=”hidden”][et_pb_image src=”https:\/\/www.dropbox.com\/s\/fxh3903wnwdqce7\/Figure%2030-%20%C3%89mile%20Gall%C3%A9%2C%20%C3%89tag%C3%A8re%20aux%20Ombellif%C3%A8res%20%28also%20Les%20Ombellules%20%C3%A9tag%C3%A8re%20de%20salon%29%2C%201900..png?raw=1″ show_in_lightbox=”on” admin_label=”Figure 30″ _builder_version=”3.26.3″][\/et_pb_image][et_pb_text admin_label=”Figure 30 Caption” _builder_version=”3.26.3″ text_font=”PT Sans Caption||||||||” text_text_color=”#7aa397″ text_font_size=”11px” text_line_height=”1.2em” custom_margin=”-24px|||||” custom_padding=”5px|||||”]<\/p>\n Figure 36:<\/strong>\u00a0\u00c9mile Gall\u00e9,\u00a0<\/span>\u00c9tag\u00e8re aux Ombellif\u00e8res<\/em>\u00a0(also\u00a0<\/span>Les Ombellules\u00a0<\/span><\/em>\u00e9tag\u00e8re de salon) [Right Side], 1900-02. Walnut with marquetry panels, 151 x 67.5 x 47.3 cm. Mus\u00e9e des Beaux Arts, Reims.<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding=”0px||||false|false” make_equal=”on” _builder_version=”3.26.3″ border_width_bottom=”2px” border_color_bottom=”#cfdbcf” width=”85%” max_width=”none”][et_pb_column type=”4_4″ _builder_version=”3.26.3″ overflow-y=”hidden”][et_pb_text quote_border_color=”#cfdbcf” _builder_version=”3.26.3″ text_font=”PT Sans||||||||” link_font=”PT Sans||||||||” link_text_color=”#7aa397″ quote_font=”PT Sans|700|||||||” quote_text_align=”right” quote_text_color=”#065053″ quote_font_size=”16px” width=”100%” custom_padding=”||5px|||”]<\/p>\n Gall\u00e9\u2019s \u00c9tag\u00e8re aux Ombellif\u00e8res <\/em>(1900-02, Figures 34-36) shows different species within the same botanical family for which the shelf is named, Umbelliferae. Gall\u00e9 carved and inlaid several of these plants that flower in a form reminiscent of an umbrella. The top of the bookshelf is crowned with three umbels of the same species, likely a type of parsley or wild carrot. The upper-most panel features three sea holly blossoms, recognizable for their central dome-shaped umbels and collar of spindly leaves.[1]<\/span><\/a> Beneath, five additional sea holly blossoms carved from wood crown the next panel. This panel again features a flower that is either parsley or carrot, this time inlaid into a brightly toned wood that highlights the flower. Each section of the bookshelf is framed by ridged a stalk-like column.<\/p>\n The work also incorporates references to one of Gall\u00e9\u2019s favorite Symbolist poets, a founder of the Symbolist movement, \u00c9mile Verhaeren. The top cabinet features doors inlaid with an excerpt from one of Verhaeren\u2019s poem, entitled \u201cThe Shining Hours.\u201d The inscription reads \u201cThe moment \/ is so beautiful \/ of Light \/ deep inside us in \/ our heart \/ Verhaeren.\u201d The poem evokes a moment of stillness during the day, conjuring the idea of beautiful sunlight. By referencing poetry, Gall\u00e9 was positioning his work as a parallel to poetry, a highly respected form of artistic expression. As a Symbolist, Gall\u00e9 incorporated meaning and messages from his favorite Symbolist writers into his works, in a manner that was expected of fine artists, but went mostly unrecognized in decorative art. This ability of decorative arts to communicate ideas beyond aesthetic would have elevated the decorative arts above the dismissive attitude often directed towards it, and more closely aligns decorative arts with the contemporary expectations for art to convey something to its viewer. In a speech given at the Stanislas Academy on May 17, 1900, Gall\u00e9 explained that he used nature in order to convey Symbolist messages. Gall\u00e9 defined Symbolism as \u201cthe representation of something, usually abstract, by a conventional equivalent, a sign whose meaning is agreed among the initiated.\u201d[2]<\/span><\/a> He also noted, \u201cit is always a matter of translating, of awakening an idea by an image.\u201d[3]<\/span><\/a> By aligning himself with the Symbolist movement, and by extension, poetry and literature, Gall\u00e9 was positioning his work as fine art equivalent to poetry and literature. Moreover, by using this poetry in conjunction with bois des \u00eeles, Gall\u00e9 was further refining the wood, in a mirroring of the civilizing mission.<\/p>\n <\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,1_4,1_2″ custom_padding=”||||false|false” make_equal=”on” _builder_version=”3.26.3″ width=”85%” max_width=”none”][et_pb_column type=”1_4″ _builder_version=”3.26.3″ overflow-y=”hidden”][et_pb_image src=”https:\/\/www.dropbox.com\/s\/4cxm0etsp2wi8vd\/Sagittarius%20Table%2C%20Mus%C3%A9e%20de%20l%27%C3%89cole%20de%20Nancy.jpeg?raw=1″ show_in_lightbox=”on” align=”center” admin_label=”Figure 34″ _builder_version=”3.26.3″][\/et_pb_image][et_pb_text admin_label=”Figure 34 Caption” _builder_version=”3.26.3″ text_font=”PT Sans Caption||||||||” text_text_color=”#7aa397″ text_font_size=”11px” text_line_height=”1.2em” custom_margin=”-2px|||||” custom_padding=”5px|||||”]<\/p>\n Figure 37:<\/strong>\u00a0\u00c9mile Gall\u00e9,\u00a0<\/span>Gu\u00e9ridon Sagittaire (Sagittarius Pedestal Table,\u00a0<\/i>also called\u00a0<\/span>Fl\u00e8che d\u2019eau\u00a0<\/em>or\u00a0<\/span>Watter Arrow<\/em>), 1900. Sculpted walnut, marquetry in Ceylon lemon tree, ash, tamo ash, and rosewood. Mus\u00e9e de l\u2019\u00c9cole de Nancy, Nancy.<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_4″ _builder_version=”3.26.3″ overflow-y=”hidden”][et_pb_image src=”https:\/\/www.dropbox.com\/s\/3yoemvmddywqvkt\/Fleche%20d%27eau%2C%20Mus%C3%A9e%20d%27orsay.jpg?raw=1″ show_in_lightbox=”on” align=”center” admin_label=”Figure 35″ _builder_version=”3.26.3″ width=”71%”][\/et_pb_image][et_pb_text admin_label=”Figure 35 Caption” _builder_version=”3.26.3″ text_font=”PT Sans Caption||||||||” text_text_color=”#7aa397″ text_font_size=”11px” text_line_height=”1.2em” custom_margin=”-2px|||||” custom_padding=”5px|||||”]<\/p>\n Figure 38:\u00a0<\/strong>Anonymous,\u00a0<\/span>La Fl\u00e8che d\u2019eau: table en mosa\u00efque et boi<\/em>, ca. 1900. Aristotype, 20.6 x 8.5 cm. Mus\u00e9e d\u2019Orsay, Paris.<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”3.26.3″ overflow-y=”hidden”][et_pb_text quote_border_color=”#cfdbcf” _builder_version=”3.26.3″ text_font=”PT Sans||||||||” link_font=”PT Sans||||||||” link_text_color=”#7aa397″ quote_font=”PT Sans|700|||||||” quote_text_align=”right” quote_text_color=”#065053″ quote_font_size=”16px” width=”100%” custom_padding=”||5px|||”]<\/p>\n Gall\u00e9 considered the life cycle to be a motif that would be readily recognized by its viewer, and that would therefore resonate with them. In his Gu\u00e9ridon<\/em> Sagittaire<\/em> (Sagittarius Pedestal Table,<\/em> also called Fl\u00e8che d\u2019eau<\/em>, or Water Arrow, <\/em>1900, Figures 37-38), Gall\u00e9 applied the lifecycle motif to the Sagittaria latifolia, or arrowhead flower, which grows in shallow wetlands (Figure 39). The warm-toned table is made from various warm-toned tropical hardwoods: Ceylon lemon tree, ash, tamo ash- a rare species of ash- and rosewood. The table is supported by three legs that each terminate with the flower\u2019s characteristic arrowhead-shaped leaf (Figure 40). The top of the table itself takes on the form of the arrowhead flower, a small, three petaled flower with a prominent round center (Figure 41). Between each petal, curving tendrils spring from the flower, approximating the sepals, or leaf-like petals, that emanate from the base of the flower head. The top is further adorned with a marquetry scene of two stems of Arrowhead flowers, and their distinctive three-pointed leaves. Each stem contains flowers at varying stages of bloom, from tightly closed buds to fully open blossoms, and flowers that have begun to wilt, their petals drooping or missing altogether. The motif of the lifecycle reflects Gall\u00e9\u2019s philosophy of modern art as a regeneration inspired by nature. The table\u2019s three delicate legs are braced in the middle by open-work curving forms, reminiscent of the fluid motion of a ripple of water. On top sits a carved flower, almost like a lily pad floating on water. This inclusion shows Gall\u00e9\u2019s intimate familiarity with the flower, and its native habitat in the water. Gall\u00e9 demonstrated knowledge of a diversity of plant life that informed his practice of marquetry which drew on that same diversity of materials. Moreover, Gall\u00e9\u2019s artistic practice was directly reliant on a diversity of trees grown in areas that France colonized, and on his knowledge of the flora and fauna that adorned his furniture.<\/p>\n <\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,1_3,1_3″ custom_padding=”0px|||||” make_equal=”on” _builder_version=”3.26.3″ width=”85%” max_width=”none” overflow-y=”hidden”][et_pb_column type=”1_3″ _builder_version=”3.26.3″ overflow-y=”hidden”][et_pb_image src=”https:\/\/www.dropbox.com\/s\/qdfpurxsndy9lxc\/Water%20Sagittarius.jpeg?raw=1″ show_in_lightbox=”on” align=”center” admin_label=”Figure 36″ _builder_version=”3.26.3″ width=”64%”][\/et_pb_image][et_pb_text admin_label=”Figure 36 Caption” _builder_version=”3.26.3″ text_font=”PT Sans Caption||||||||” text_text_color=”#7aa397″ text_font_size=”11px” text_line_height=”1.2em” custom_margin=”-2px|||||” custom_padding=”5px|||||”]<\/p>\n Figure 39:<\/strong>\u00a0Carolyn Fannon, Sagittaria latifolia<\/em>, 2012. Digital photograph. Lady Bird Johnson Wildflower Center,\u00a0University of Texas, Austin.<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”3.26.3″ overflow-y=”hidden”][et_pb_image src=”https:\/\/www.dropbox.com\/s\/42rvq8iukn3y8uj\/Leaf%20comparison%20solid.png?raw=1″ show_in_lightbox=”on” align=”center” force_fullwidth=”on” admin_label=”Figure 37″ _builder_version=”3.26.3″][\/et_pb_image][et_pb_text admin_label=”Figure 37 Caption” _builder_version=”3.26.3″ text_font=”PT Sans Caption||||||||” text_text_color=”#7aa397″ text_font_size=”11px” text_line_height=”1.2em” custom_margin=”-2px|||||” custom_padding=”5px|||||”]<\/p>\n Figure 40:<\/strong>\u00a0Comparison of Sagittaria latifolia leaves. Left:\u00a0\u00c9mile Gall\u00e9,\u00a0<\/span>Gu\u00e9ridon Sagittaire (Sagittarius Pedestal Table,\u00a0<\/i>also called\u00a0<\/span>Fl\u00e8che d\u2019eau\u00a0<\/em>or\u00a0<\/span>Watter Arrow<\/em>) [Detail], 1900. Sculpted walnut, marquetry in Ceylon lemon tree, ash, tamo ash, and rosewood. Mus\u00e9e de l\u2019\u00c9cole de Nancy, Nancy. Right: Sally and Andy Wasowski, Sagittaria latifolia [Detail], 1987. Photograph.\u00a0Lady Bird Johnson Wildflower Center,\u00a0University of Texas, Austin.\u00a0<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”3.26.3″ overflow-y=”hidden”][et_pb_image src=”https:\/\/www.dropbox.com\/s\/9pgnrdnre6koxoe\/Sagittarius%20top.png?raw=1″ show_in_lightbox=”on” align=”center” force_fullwidth=”on” admin_label=”Figure 38″ _builder_version=”3.26.3″][\/et_pb_image][et_pb_text admin_label=”Figure 38 Caption” _builder_version=”3.26.3″ text_font=”PT Sans Caption||||||||” text_text_color=”#7aa397″ text_font_size=”11px” text_line_height=”1.2em” custom_margin=”-2px|||||” custom_padding=”5px|||||”]<\/p>\n Figure 41:<\/strong>\u00a0\u00c9mile Gall\u00e9,\u00a0<\/span>Gu\u00e9ridon Sagittaire (Sagittarius Pedestal Table,\u00a0<\/i>also called\u00a0<\/span>Fl\u00e8che d\u2019eau\u00a0<\/em>or\u00a0<\/span>Watter Arrow<\/em>) [Detail of Top], 1900. Sculpted walnut, marquetry in Ceylon lemon tree, ash, tamo ash, and rosewood. Mus\u00e9e de l\u2019\u00c9cole de Nancy, Nancy.<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding=”0px|||||” make_equal=”on” _builder_version=”3.26.3″ width=”85%” max_width=”none”][et_pb_column type=”4_4″ _builder_version=”3.26.3″ overflow-y=”hidden”][et_pb_text quote_border_color=”#cfdbcf” _builder_version=”3.26.3″ text_font=”PT Sans||||||||” link_font=”PT Sans||||||||” link_text_color=”#7aa397″ quote_font=”PT Sans|700|||||||” quote_text_align=”right” quote_text_color=”#065053″ quote_font_size=”16px” width=”100%” custom_padding=”||5px|||”]<\/p>\n Gall\u00e9\u2019s works at the 1900 Exposition Universelle were undoubtedly pieces that displayed mastery of skill in woodwork, but they also showed Gall\u00e9\u2019s desire to be seen as both a fine artist and a craftsman. In using bois des \u00eeles, Gall\u00e9 aligned himself with the civilizing mission of the Third Republic, seen to colonize \u201csavage\u201d lands with the effort of refining them in an image of France. Gall\u00e9 saw himself as doing something similar in his art, taking natural, raw, unrefined materials, and working with them to make them something delicate, refined, and beautiful.<\/p>\n <\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”3.26.3″ background_image=”http:\/\/edspace.american.edu\/emilegallesfurniture\/wp-content\/uploads\/sites\/2166\/2023\/03\/Cover-Page-Background.png” parallax=”on” parallax_method=”off” border_width_top=”2px” border_color_top=”#7aa397″ border_width_bottom=”2px” border_color_bottom=”#7aa397″ custom_padding=”||||false|false”][et_pb_row _builder_version=”3.26.3″][et_pb_column type=”4_4″ _builder_version=”3.26.3″][et_pb_button button_url=”https:\/\/edspace.american.edu\/emilegallesfurniture\/conclusion\/” button_text=”Conclusion” button_alignment=”center” admin_label=”Next Section” _builder_version=”3.26.3″ custom_button=”on” button_text_size=”18px” button_text_color=”#7aa397″ button_bg_color=”#ffffff” button_border_color=”#7aa397″ button_border_radius=”10px” button_letter_spacing=”3px” button_font=”PT Sans|||||on|||” button_icon=”%%24%%” button_icon_color=”#7aa397″ button_on_hover=”off” button_bg_color__hover_enabled=”off” button_bg_color__hover=”#cfdbcf” button_bg_enable_color__hover=”on” button_text_color__hover=”#ac4003″ button_text_color__hover_enabled=”on” button_border_color__hover=”#ac4003″ button_border_color__hover_enabled=”on” button_icon_color__hover_enabled=”on” button_letter_spacing__hover=”5px” button_letter_spacing__hover_enabled=”on” button_icon_color__hover=”#ac4003″][\/et_pb_button][et_pb_button button_url=”https:\/\/edspace.american.edu\/emilegallesfurniture\/making-in-multi-chrome\/” button_text=”Making in Multichrome” button_alignment=”center” admin_label=”Next Section” _builder_version=”3.26.3″ custom_button=”on” button_text_size=”18px” button_text_color=”#7aa397″ button_bg_color=”#ffffff” button_border_color=”#7aa397″ button_border_radius=”10px” button_letter_spacing=”3px” button_font=”PT Sans|||||on|||” button_icon=”%%23%%” button_icon_color=”#7aa397″ button_icon_placement=”left” button_on_hover=”off” button_bg_color__hover_enabled=”off” button_bg_color__hover=”#cfdbcf” button_bg_enable_color__hover=”on” button_text_color__hover=”#ac4003″ button_text_color__hover_enabled=”on” button_border_color__hover=”#ac4003″ button_border_color__hover_enabled=”on” button_icon_color__hover_enabled=”on” button_letter_spacing__hover=”5px” button_letter_spacing__hover_enabled=”on” button_icon_color__hover=”#ac4003″][\/et_pb_button][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ fullwidth=”on” _builder_version=”3.26.3″ custom_margin=”||||false|false”][et_pb_fullwidth_header admin_label=”Footnotes” _builder_version=”3.26.3″ title_font=”PT Sans||||||||” content_font=”PT Sans||||||||” content_text_color=”#065053″ content_font_size=”11px” content_link_font=”PT Sans|700|||||||” content_link_text_color=”#ac4003″ background_color=”#cfdbcf” custom_padding=”27px|||||”]<\/p>\n <\/span><\/a><\/p>\n <\/span><\/a><\/p>\n <\/span><\/a>[1]<\/a>. A very heartfelt thank you to Dr. Christopher Tudge for his assistance in identifying the plants in this work, and his guidance on how to write about biology.<\/p>\n <\/a><\/p>\n [2]<\/span><\/a>. \u00c9mile Gall\u00e9, \u201cSymbolic D\u00e9cor,\u201d in Duncan and de Bartha, Gall\u00e9 Furniture<\/em>, 109.<\/p>\n <\/a><\/p>\n [3]<\/span><\/a>. Gall\u00e9, \u00c9crits pour l\u2019Art<\/em>, 215.<\/p>\n <\/a><\/p>\n <\/a><\/p>\n [\/et_pb_fullwidth_header][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”3.26.3″ custom_padding=”||23px|||” locked=”off”][et_pb_row custom_padding=”|5%||5%|false|false” custom_margin=”-55px|auto|-53px|auto||” make_equal=”on” admin_label=”Sections” _builder_version=”3.26.3″ background_color=”#065053″ width=”100%” max_width=”none” module_alignment=”center” saved_tabs=”all” locked=”off” max_width__hover_enabled=”off”][et_pb_column type=”4_4″ admin_label=”Outline” _builder_version=”3.26.3″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text admin_label=”Fair use Footer” _builder_version=”3.26.3″ text_font=”PT Sans||||||||” text_text_color=”#ffffff” text_font_size=”10px” text_letter_spacing=”1px” custom_margin=”||0px||false|false”]Web Design: Marie-Claire Kent, 2023[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" [et_pb_section fb_built=”1″ fullwidth=”on” _builder_version=”3.26.3″][et_pb_fullwidth_menu fullwidth_menu=”on” active_link_color=”#ac4003″ dropdown_menu_bg_color=”#ffffff” dropdown_menu_line_color=”#cfdbcf” dropdown_menu_text_color=”#7aa397″ mobile_menu_text_color_phone=”#065053″ mobile_menu_text_color_last_edited=”on|desktop” _builder_version=”3.26.3″ menu_font=”PT Sans|||on|||||” menu_text_color=”#065053″ menu_font_size=”12px” background_color=”#cfdbcf” border_color_all=”#065053″ border_width_bottom=”2px” border_color_bottom=”#065053″ text_orientation=”center” width=”100%” max_width=”100%” overflow-x=”visible” overflow-y=”visible” custom_margin=”||||false|false” z_index=”500″ global_module=”167″ saved_tabs=”all”][\/et_pb_fullwidth_menu][\/et_pb_section][et_pb_section fb_built=”1″ fullwidth=”on” _builder_version=”3.26.3″ background_enable_image=”off”][et_pb_fullwidth_header title=”Nature as Symbol:” subhead=”Gall\u00e9’s Motifs” admin_label=”Title” _builder_version=”3.26.3″ title_font=”Flamenco|700||||on|||” title_text_color=”#065053″ title_font_size=”60px” title_line_height=”1.1em” content_font=”PT Sans||||||||” content_text_color=”#000000″ subhead_font=”PT Sans|||on|||||” subhead_text_align=”left” subhead_text_color=”#ac4003″ subhead_font_size=”22px” content_link_text_color=”#7aa397″ background_color=”rgba(0,0,0,0)” background_image=”http:\/\/edspace.american.edu\/emilegallesfurniture\/wp-content\/uploads\/sites\/2166\/2023\/03\/Cover-Page-Background.png” […]<\/p>\n","protected":false},"author":3845,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-template-blank.php","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"class_list":["post-197","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/emilegallesfurniture\/wp-json\/wp\/v2\/pages\/197","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/emilegallesfurniture\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/emilegallesfurniture\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/emilegallesfurniture\/wp-json\/wp\/v2\/users\/3845"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/emilegallesfurniture\/wp-json\/wp\/v2\/comments?post=197"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/emilegallesfurniture\/wp-json\/wp\/v2\/pages\/197\/revisions"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/emilegallesfurniture\/wp-json\/wp\/v2\/media?parent=197"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":195,"date":"2023-02-21T20:26:19","date_gmt":"2023-02-21T20:26:19","guid":{"rendered":"https:\/\/edspace.american.edu\/emilegallesfurniture\/?page_id=195"},"modified":"2023-05-07T21:22:05","modified_gmt":"2023-05-07T21:22:05","slug":"making-in-multi-chrome","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/emilegallesfurniture\/making-in-multi-chrome\/","title":{"rendered":"Making in Multi-Chrome"},"content":{"rendered":" [et_pb_section fb_built=”1″ fullwidth=”on” _builder_version=”3.26.3″][et_pb_fullwidth_menu fullwidth_menu=”on” active_link_color=”#ac4003″ dropdown_menu_bg_color=”#ffffff” dropdown_menu_line_color=”#cfdbcf” dropdown_menu_text_color=”#7aa397″ mobile_menu_text_color_phone=”#065053″ mobile_menu_text_color_last_edited=”on|desktop” _builder_version=”3.26.3″ menu_font=”PT Sans|||on|||||” menu_text_color=”#065053″ menu_font_size=”12px” background_color=”#cfdbcf” border_color_all=”#065053″ border_width_bottom=”2px” border_color_bottom=”#065053″ text_orientation=”center” width=”100%” max_width=”100%” overflow-x=”visible” overflow-y=”visible” custom_margin=”||||false|false” z_index=”500″ global_module=”167″ saved_tabs=”all”][\/et_pb_fullwidth_menu][\/et_pb_section][et_pb_section fb_built=”1″ fullwidth=”on” _builder_version=”3.26.3″ background_enable_image=”off”][et_pb_fullwidth_header title=”Making in Multichrome” admin_label=”Title” _builder_version=”3.26.3″ title_font=”Flamenco|700||||on|||” title_text_color=”#065053″ title_font_size=”60px” title_line_height=”1.1em” content_font=”PT Sans||||||||” content_text_color=”#000000″ subhead_font=”PT Sans|||on|||||” subhead_text_align=”left” subhead_text_color=”#ac4003″ subhead_font_size=”22px” content_link_text_color=”#7aa397″ background_color=”rgba(0,0,0,0)” background_image=”http:\/\/edspace.american.edu\/emilegallesfurniture\/wp-content\/uploads\/sites\/2166\/2023\/03\/Cover-Page-Background.png” parallax=”on” border_width_bottom=”2px” border_color_bottom=”#065053″ custom_button_one=”on” button_one_text_color=”#065053″ button_one_bg_color=”#cfdbcf” button_one_border_color=”#065053″ button_one_font=”PT Sans||||||||” button_one_icon=”%%20%%” button_one_icon_color=”#065053″ custom_margin=”|||-143px|false|false” custom_margin_phone=”|||0px|false|false” custom_margin_last_edited=”on|desktop” custom_padding=”||||false|false”][\/et_pb_fullwidth_header][\/et_pb_section][et_pb_section fb_built=”1″ admin_label=”Body” _builder_version=”3.26.3″ width=”100%” custom_padding=”0px||0px|||”][et_pb_row column_structure=”1_2,1_2″ _builder_version=”3.26.3″ border_color_all=”#7aa397″ border_color_bottom=”#cfdbcf” width=”85%” max_width=”none”][et_pb_column type=”1_2″ _builder_version=”3.26.3″ overflow-y=”hidden”][et_pb_text quote_border_color=”#cfdbcf” _builder_version=”3.26.3″ text_font=”PT Sans||||||||” link_font=”PT Sans||||||||” link_text_color=”#7aa397″ quote_font=”PT Sans|700|||||||” quote_text_align=”right” quote_text_color=”#065053″ quote_font_size=”16px” border_color_bottom=”#cfdbcf” width=”100%” custom_padding=”||||false|false”]<\/p>\n Gall\u00e9 brought his furnishings to life by using both imported materials and the ancient technique of marquetry that had origins outside France. Marquetry is a woodworking technique in which thin slices of wood, called veneers, are applied to the face of a wooden object in order to form decorative patterns or scenes. Sometimes, the veneers are inlaid, or placed into cutouts on the surface of the object. Gall\u00e9\u2019s marquetry panels achieve a spectacular range of tonality, an effect made possible through his use of a variety of wood species, including bois des \u00eeles. The tonal variation of the materials allowed Gall\u00e9 to execute extremely detailed images in his marquetry. Gall\u00e9\u2019s marquetry practice was rooted in a long tradition of woodworkers that came before him, that extended well beyond the history of the Kingdom of France. Marquetry has been traced back to 350 BCE, in Halicarnassus, modern-day Turkey, and flourished in France in the eighteenth century as woodworkers created new sumptuous designs to adorn Versailles, such as Jean-Fran\u00e7ois Oeben\u2019s design for the Bureau du Roi <\/em>(1760-69, Figure 31), completed by Jean Henri Riesener.[1]<\/span><\/a> By the time that Gall\u00e9 began working in wood, artists had been experimenting with combinations of veneers and application techniques for millennia. Gall\u00e9 took the challenge to innovate something new, to find new combinations of materials that had not been employed by the craftsmen that came before him. He asked whether all the combinations had been exhausted in his 1889 notes to the jury. His response: \u201cI do not think so.\u201d[2]<\/span><\/a> He continued to experiment in the eleven years between expositions, and at the 1900 Exposition, Gall\u00e9\u2019s exhibits showed that he still had not run out of ideas. He was persistently innovating with new materials, and new combinations of materials to create modern imagery. Gall\u00e9 viewed bois des \u00eeles as a tool that allowed him to push the bounds of marquetry. Similarly, Gall\u00e9 viewed marquetry as a way to practice and improve on something that originated outside of France.<\/p>\n <\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”3.26.3″ border_color_right=”#cfdbcf” border_color_bottom=”#e02b20″ border_style_bottom=”double”][et_pb_image src=”https:\/\/www.dropbox.com\/s\/49dagj6fouq4gy8\/Figure%2031.png?raw=1″ show_in_lightbox=”on” align=”center” admin_label=”Figure 26″ _builder_version=”3.26.3″ width=”100%” custom_margin=”||||false|false”][\/et_pb_image][et_pb_text admin_label=”Figure 26 Caption” _builder_version=”3.26.3″ text_font=”PT Sans Caption||||||||” text_text_color=”#7aa397″ text_font_size=”11px” text_line_height=”1.2em” custom_margin=”-30px||||false|false” custom_padding=”||||false|false”]<\/p>\n Figure 31:\u00a0<\/strong><\/span>Jean-Fran\u00e7ois Oeben and Jean Henri Riesener, Bureau du Roi<\/em>, 1760-69. Bronze, marquetry of a variety of fine woods, S\u00e8vres porcelain. 163 x 85 x 158 cm. Ch\u00e2teau de Versailles, Versailles.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ _builder_version=”3.26.3″ border_color_all=”#7aa397″ border_width_bottom=”2px” border_color_bottom=”#cfdbcf” width=”85%” max_width=”none”][et_pb_column type=”1_2″ _builder_version=”3.26.3″ overflow-y=”hidden”][et_pb_image src=”https:\/\/www.dropbox.com\/s\/8h490gehf85ax3o\/Figure_26-Emile%20Galle%20Ipomea%20%28also%20Commode%20Morning%20Glory%29%2C%201900..png?raw=1″ show_in_lightbox=”on” align=”center” admin_label=”Figure 26″ _builder_version=”3.26.3″ width=”100%” custom_margin=”||-38px||false|false”][\/et_pb_image][et_pb_text admin_label=”Figure 26 Caption” _builder_version=”3.26.3″ text_font=”PT Sans Caption||||||||” text_text_color=”#7aa397″ text_font_size=”11px” text_line_height=”1.2em” custom_margin=”||||false|false” custom_padding=”||||false|false”]<\/p>\n Figure 32:<\/strong>\u00a0\u00c9mile Gall\u00e9,\u00a0<\/span>Ipomea<\/em>\u00a0(also\u00a0<\/span>Commode Morning Glory<\/em>), 1900. Marquetry of several different woods on a carcass of oak and willow, 87 x 88 x 57 cm. Victoria and Albert Museum, London.<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”3.26.3″ border_color_right=”#cfdbcf” border_color_bottom=”#e02b20″ border_style_bottom=”double”][et_pb_text quote_border_color=”#cfdbcf” _builder_version=”3.26.3″ text_font=”PT Sans||||||||” link_font=”PT Sans||||||||” link_text_color=”#7aa397″ quote_font=”PT Sans|700|||||||” quote_text_align=”right” quote_text_color=”#065053″ quote_font_size=”16px” border_color_bottom=”#cfdbcf” width=”100%” custom_padding=”||||false|false”]<\/p>\n Gall\u00e9\u2019s Ipomea <\/em>(also known as Commode, Morning Glory<\/em>, 1900, Figure 32) features stark color contrasts in its marquetry on all sides, but particularly on the side panels. In this work, Gall\u00e9 has taken to creating a study of the Morning Glory flower. The flower is depicted across several life stages, in both two dimensions and three. Gall\u00e9 has paid careful attention to the anatomy of the flower, incorporating both the leaves and tendrils of vines that extend from them. The twisting, vining legs give the piece movement that helps to offset the heavy, stagnant shape of the main body of the piece, and have the benefit of mimicking the vines of the Morning Glory. Where the legs meet the body, the joints are ornamented by the closed blooms of the Morning Glory flower. The verticality of the buds helps to pull the eye up and up to the fluted edge of another blossom, this one opening up to the tabletop. The face of the commode, the drawer fronts, are decorated with a landscape in marquetry. Here, Gall\u00e9 chose golden tones that seem to be illuminated from within, evoking the idea of the sun shining down on the flowers. The Morning Glories seem to be billowing in a breeze created by the natural veining in the wood. Simply by using various varieties and tones of wood, Gall\u00e9 ] managed to illustrate a clear scene that imparts on the viewer the same sense they would feel looking at a painted landscape of flowers on a hill on a breezy early summer day. The sides of the commode accentuate the tonal range that Gall\u00e9 realized in this piece. The background here is much darker than on the front side, creating a stark contrast between the background and the Morning Glories. Here, the flowers are much lighter in tone, and echo the shapes of the apex flowers in bloom on the corners of the piece. Variations in wood tone and the slight curvature of the sides help to create the illusion of depth. The image itself is made possible by the array of wood varieties that Gall\u00e9 had access to, made accessible to him by the colonial wood trade.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”3.26.3″][et_pb_column type=”4_4″ _builder_version=”3.26.3″][et_pb_image src=”https:\/\/www.dropbox.com\/s\/2yepmt16xsbjedx\/Figure%2027-%20%C3%89mile%20Gall%C3%A9%2C%20L%E2%80%99Orchid%C3%A9e%20et%20L%E2%80%99Insecte%20mueble%20d%E2%80%99appui%20%28The%20Orchid%20and%20the%20Insect%20Chest%20of%20Drawers%29%2C%201888-89..png?raw=1″ show_in_lightbox=”on” align=”center” _builder_version=”3.26.3″ width=”56%”][\/et_pb_image][et_pb_text admin_label=”Figure 27 Caption” _builder_version=”3.26.3″ text_font=”PT Sans Caption||||||||” text_text_color=”#7aa397″ text_font_size=”11px” text_line_height=”1.2em” custom_margin=”-2px|||||” custom_padding=”5px|||||”]<\/p>\n Figure 33:<\/strong>\u00a0\u00c9mile Gall\u00e9,\u00a0<\/span>L\u2019Orchid\u00e9e et L\u2019Insecte<\/em>\u00a0mueble d\u2019appui (<\/span>The Orchid and the Insect<\/em>\u00a0Chest of Drawers), 1888-89. Carved Madagascan ebony, false acacia, carved colored woods, chased and patinated bronze, antique Egyptian green marble. From Alastair Duncan and Georges de Bartha,\u00a0<\/span>Gall\u00e9 Furniture\u00a0<\/span><\/em>(Suffolk: Antique Collectors\u2019 Club, 2012), 32.<\/span><\/p>\n [\/et_pb_text][et_pb_text quote_border_color=”#cfdbcf” _builder_version=”3.26.3″ text_font=”PT Sans||||||||” link_font=”PT Sans||||||||” link_text_color=”#7aa397″ quote_font=”PT Sans||||||||” quote_text_align=”right” quote_text_color=”#065053″ width=”100%” min_height=”440px” custom_margin=”||||false|false” custom_padding=”||||false|false”]<\/p>\n L\u2019Orchid\u00e9e et L\u2019Insecte <\/em>meuble d\u2019appui (The Orchid and the Insect<\/em> Chest of Drawers, 1889-90, Figure 33) displays even more color contrast in its marquetry, moving beyond usual wood tones. Gall\u00e9\u2019s variation of materials for this piece create a rich and varied palette, with yellows, reds, whites, greens, and deep blacks that add to the visual interest of the piece. The chest of drawers was initially on display at the 1889 Exposition Universelle, and then Gall\u00e9 made the choice to include it again in the 1900 Exposition. It is among the most ornate and detailed of his works. It features incredible amounts of both carving and marquetry, undeniably confirming it as an object of luxury furniture. The marquetry\u2019s wide range of colors evidences Gall\u00e9\u2019s use of many types of wood in this project, and conveys to the viewer the exoticness of the materials used. As suggested by the title, the work is adorned with orchids and brightly-patterned insects on all three sections. Orchids were notably popular among Gall\u00e9\u2019s works, a reflection of the public interest in orchids that had grown in recent years, as France\u2019s colonial activities made the flowers more readily available to French audiences.[3]<\/span><\/a> The middle section overlays the insects and orchids onto a multi-tonal geometric field of elongated hexagons. The hexagons are a deep burgundy color, punctuated by an intensely bright outline of gold. Here, the geometric pattern of the marquetry initially contradicts the natural origins of the material used, yet undoubtedly brings to mind the form of a honeycomb, relating it to the insects that adorn the work. The left and right sections feature inlaid orchids and insects, highlighted with a similarly bright golden hue, laid over a curvilinear scale pattern. Gall\u00e9 has taken utmost advantage of the natural grain of the wood: each scale is further decorated by the natural curving grain of the wood, creating an almost hypnotic, undulating field. The angular hexagons contrast with the rolling swells of the scales, but their tidy and organized arrangement contrasts even more with the organic and seemingly haphazard placement of orchids and insects. In his 1889 Notes to the Jury, Gall\u00e9 described the piece as follows:<\/p>\n Large dresser with drawers on the front and side of carved Madagascan ebony and false acacia below, inlaid with carved coloured woods. Chased and patinated bronze. Top of antique Egyptian green marble. Theme of ornamentation: orchids and exotic insects. Bronze models and drawings by \u00c9mile Gall\u00e9.[4]<\/span><\/a><\/p>\n<\/blockquote>\n Gall\u00e9 made his interest in using diverse and exotic materials evident to his readers in this text. Moreover, Gall\u00e9 seems to have placed importance on the source of these materials, taking care to outline their country of origin in the object description. Once again, Gall\u00e9 emphasized the exotic origins of the materials of the piece, placing himself in the position of the colonizer, civilizing the spoils of his conquest.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”3.26.3″ background_image=”http:\/\/edspace.american.edu\/emilegallesfurniture\/wp-content\/uploads\/sites\/2166\/2023\/03\/Cover-Page-Background.png” parallax=”on” parallax_method=”off” border_width_top=”2px” border_color_top=”#7aa397″ border_width_bottom=”2px” border_color_bottom=”#7aa397″ custom_padding=”||||false|false”][et_pb_row _builder_version=”3.26.3″][et_pb_column type=”4_4″ _builder_version=”3.26.3″][et_pb_button button_url=”https:\/\/edspace.american.edu\/emilegallesfurniture\/nature-as-symbol-galles-motifs\/” button_text=”Nature as Symbol: Gall\u00e9\u2019s Motifs” button_alignment=”center” admin_label=”Next Section” _builder_version=”3.26.3″ custom_button=”on” button_text_size=”18px” button_text_color=”#7aa397″ button_bg_color=”#ffffff” button_border_color=”#7aa397″ button_border_radius=”10px” button_letter_spacing=”3px” button_font=”PT Sans|||||on|||” button_icon=”%%24%%” button_icon_color=”#7aa397″ button_on_hover=”off” button_bg_color__hover_enabled=”off” button_bg_color__hover=”#cfdbcf” button_bg_enable_color__hover=”on” button_text_color__hover=”#ac4003″ button_text_color__hover_enabled=”on” button_border_color__hover=”#ac4003″ button_border_color__hover_enabled=”on” button_icon_color__hover_enabled=”on” button_letter_spacing__hover=”5px” button_letter_spacing__hover_enabled=”on” button_icon_color__hover=”#ac4003″][\/et_pb_button][et_pb_button button_url=”https:\/\/edspace.american.edu\/emilegallesfurniture\/galles-exotic-wood-carving\/” button_text=”Gall\u00e9’s Exotic Wood Carving” button_alignment=”center” admin_label=”Next Section” _builder_version=”3.26.3″ custom_button=”on” button_text_size=”18px” button_text_color=”#7aa397″ button_bg_color=”#ffffff” button_border_color=”#7aa397″ button_border_radius=”10px” button_letter_spacing=”3px” button_font=”PT Sans|||||on|||” button_icon=”%%23%%” button_icon_color=”#7aa397″ button_icon_placement=”left” button_on_hover=”off” button_bg_color__hover_enabled=”off” button_bg_color__hover=”#cfdbcf” button_bg_enable_color__hover=”on” button_text_color__hover=”#ac4003″ button_text_color__hover_enabled=”on” button_border_color__hover=”#ac4003″ button_border_color__hover_enabled=”on” button_icon_color__hover_enabled=”on” button_letter_spacing__hover=”5px” button_letter_spacing__hover_enabled=”on” button_icon_color__hover=”#ac4003″][\/et_pb_button][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ fullwidth=”on” _builder_version=”3.26.3″ custom_margin=”||||false|false”][et_pb_fullwidth_header admin_label=”Footnotes” _builder_version=”3.26.3″ title_font=”PT Sans||||||||” content_font=”PT Sans||||||||” content_text_color=”#065053″ content_font_size=”11px” content_link_font=”PT Sans|700|||||||” content_link_text_color=”#ac4003″ background_color=”#cfdbcf” custom_padding=”27px|||||”]<\/p>\n <\/span><\/a><\/p>\n <\/span><\/a><\/p>\n <\/a><\/p>\n <\/span><\/a><\/a>[1]<\/a>. Pierre Ramond, Marquetry<\/em>. (Newton, Connecticut: Taunton Press, 1989), 13.<\/p>\n <\/a><\/p>\n [2]<\/span><\/a>. Gall\u00e9, \u00c9crits pour l\u2019Art, <\/em>355.<\/p>\n <\/a><\/p>\n [3]<\/span><\/a>. Dandona, Nature and the Nation<\/em>, 153.<\/p>\n <\/a><\/p>\n [4]<\/span><\/a>. Duncan and de Bartha, Gall\u00e9 Furniture<\/em>, 33.<\/p>\n <\/a><\/p>\n <\/span><\/a><\/p>\n [\/et_pb_fullwidth_header][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”3.26.3″ custom_padding=”||23px|||” locked=”off”][et_pb_row custom_padding=”|5%||5%|false|false” custom_margin=”-55px|auto|-53px|auto||” make_equal=”on” admin_label=”Sections” _builder_version=”3.26.3″ background_color=”#065053″ width=”100%” max_width=”none” module_alignment=”center” saved_tabs=”all” locked=”off” max_width__hover_enabled=”off”][et_pb_column type=”4_4″ admin_label=”Outline” _builder_version=”3.26.3″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text admin_label=”Fair use Footer” _builder_version=”3.26.3″ text_font=”PT Sans||||||||” text_text_color=”#ffffff” text_font_size=”10px” text_letter_spacing=”1px” custom_margin=”||0px||false|false”]Web Design: Marie-Claire Kent, 2023[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" [et_pb_section fb_built=”1″ fullwidth=”on” _builder_version=”3.26.3″][et_pb_fullwidth_menu fullwidth_menu=”on” active_link_color=”#ac4003″ dropdown_menu_bg_color=”#ffffff” dropdown_menu_line_color=”#cfdbcf” dropdown_menu_text_color=”#7aa397″ mobile_menu_text_color_phone=”#065053″ mobile_menu_text_color_last_edited=”on|desktop” _builder_version=”3.26.3″ menu_font=”PT Sans|||on|||||” menu_text_color=”#065053″ menu_font_size=”12px” background_color=”#cfdbcf” border_color_all=”#065053″ border_width_bottom=”2px” border_color_bottom=”#065053″ text_orientation=”center” width=”100%” max_width=”100%” overflow-x=”visible” overflow-y=”visible” custom_margin=”||||false|false” z_index=”500″ global_module=”167″ saved_tabs=”all”][\/et_pb_fullwidth_menu][\/et_pb_section][et_pb_section fb_built=”1″ fullwidth=”on” _builder_version=”3.26.3″ background_enable_image=”off”][et_pb_fullwidth_header title=”Making in Multichrome” admin_label=”Title” _builder_version=”3.26.3″ title_font=”Flamenco|700||||on|||” title_text_color=”#065053″ title_font_size=”60px” title_line_height=”1.1em” content_font=”PT Sans||||||||” content_text_color=”#000000″ subhead_font=”PT Sans|||on|||||” subhead_text_align=”left” subhead_text_color=”#ac4003″ subhead_font_size=”22px” content_link_text_color=”#7aa397″ background_color=”rgba(0,0,0,0)” background_image=”http:\/\/edspace.american.edu\/emilegallesfurniture\/wp-content\/uploads\/sites\/2166\/2023\/03\/Cover-Page-Background.png” parallax=”on” border_width_bottom=”2px” […]<\/p>\n","protected":false},"author":3845,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-template-blank.php","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"class_list":["post-195","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/emilegallesfurniture\/wp-json\/wp\/v2\/pages\/195","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/emilegallesfurniture\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/emilegallesfurniture\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/emilegallesfurniture\/wp-json\/wp\/v2\/users\/3845"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/emilegallesfurniture\/wp-json\/wp\/v2\/comments?post=195"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/emilegallesfurniture\/wp-json\/wp\/v2\/pages\/195\/revisions"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/emilegallesfurniture\/wp-json\/wp\/v2\/media?parent=195"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":176,"date":"2023-02-07T19:18:43","date_gmt":"2023-02-07T19:18:43","guid":{"rendered":"https:\/\/edspace.american.edu\/emilegallesfurniture\/?page_id=176"},"modified":"2023-05-05T13:56:44","modified_gmt":"2023-05-05T13:56:44","slug":"galles-exotic-wood-carving","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/emilegallesfurniture\/galles-exotic-wood-carving\/","title":{"rendered":"Gall\u00e9’s Exotic Wood Carving"},"content":{"rendered":" [et_pb_section fb_built=”1″ fullwidth=”on” _builder_version=”3.26.3″][et_pb_fullwidth_menu fullwidth_menu=”on” active_link_color=”#ac4003″ dropdown_menu_bg_color=”#ffffff” dropdown_menu_line_color=”#cfdbcf” dropdown_menu_text_color=”#7aa397″ mobile_menu_text_color_phone=”#065053″ mobile_menu_text_color_last_edited=”on|desktop” _builder_version=”3.26.3″ menu_font=”PT Sans|||on|||||” menu_text_color=”#065053″ menu_font_size=”12px” background_color=”#cfdbcf” border_color_all=”#065053″ border_width_bottom=”2px” border_color_bottom=”#065053″ text_orientation=”center” width=”100%” max_width=”100%” overflow-x=”visible” overflow-y=”visible” custom_margin=”||||false|false” z_index=”500″ global_module=”167″ saved_tabs=”all”][\/et_pb_fullwidth_menu][\/et_pb_section][et_pb_section fb_built=”1″ fullwidth=”on” _builder_version=”3.26.3″ background_enable_image=”off”][et_pb_fullwidth_header title=”Gall\u00e9’s Exotic Wood Carving” admin_label=”Title” _builder_version=”3.26.3″ title_font=”Flamenco|700||||on|||” title_text_color=”#065053″ title_font_size=”60px” title_line_height=”1.1em” content_font=”PT Sans||||||||” content_text_color=”#000000″ subhead_font=”PT Sans|||on|||||” subhead_text_align=”left” subhead_text_color=”#ac4003″ subhead_font_size=”22px” content_link_text_color=”#7aa397″ background_color=”rgba(0,0,0,0)” background_image=”http:\/\/edspace.american.edu\/emilegallesfurniture\/wp-content\/uploads\/sites\/2166\/2023\/03\/Cover-Page-Background.png” parallax=”on” border_width_bottom=”2px” border_color_bottom=”#065053″ custom_button_one=”on” button_one_text_color=”#065053″ button_one_bg_color=”#cfdbcf” button_one_border_color=”#065053″ button_one_font=”PT Sans||||||||” button_one_icon=”%%20%%” button_one_icon_color=”#065053″ custom_margin=”|||-143px|false|false” custom_margin_phone=”|||0px|false|false” custom_margin_last_edited=”on|desktop” custom_padding=”||||false|false”][\/et_pb_fullwidth_header][\/et_pb_section][et_pb_section fb_built=”1″ admin_label=”Body” _builder_version=”3.26.3″ width=”100%” overflow-y=”hidden” custom_padding=”0px||0px|||”][et_pb_row column_structure=”3_5,1_5,1_5″ make_equal=”on” _builder_version=”3.26.3″ border_color_all=”#7aa397″ border_width_bottom=”2px” border_color_bottom=”#cfdbcf” width=”85%” max_width=”none”][et_pb_column type=”3_5″ _builder_version=”3.26.3″ overflow-x=”hidden” overflow-y=”hidden”][et_pb_text quote_border_color=”#cfdbcf” _builder_version=”3.26.3″ text_font=”PT Sans||||||||” link_font=”PT Sans||||||||” link_text_color=”#7aa397″ quote_font=”PT Sans|700|||||||” quote_text_align=”right” quote_text_color=”#065053″ quote_font_size=”16px” border_color_bottom=”#cfdbcf” width=”100%” custom_padding=”||||false|false”]<\/p>\n Gall\u00e9\u2019s intricate wood carving in several of the wooden furniture pieces he exhibited at the 1900 exposition incorporated themes that recall products of colonialism. In carving these elaborate designs out of wood, Gall\u00e9 borrowed the ideology of France\u2019s civilizing mission. He took raw, \u201cuntamed\u201d materials from French colonies and shaped them into a refined, finished product. For example, Gall\u00e9\u2019s Africa <\/em>bookcase (ca. 1900, Figure 26), whose material the artist described as \u201ctropical hardwood\u201d in his 1900 pamphlet, is anchored by a strong, rectangular base, with carved curvilinear ornamentation that disrupts the blocky quality of the piece. The surface of the piece is incredibly detailed and impeccably crafted. High relief and openwork wood carvings emerge from the flat surface of the wood on all visible sides, decorating the bookshelf to look like it captures a frozen moment of time in nature. It is studded with a variety of small sculptural animals carved from the same wood\u2013 frogs, snails, and butterflies. [1]<\/a><\/span> Vegetation carved in openwork in the front panel curls around the bottom panel of the door, flowers and leaves intermingling with a butterfly whose carved wings almost seem to lift off the surface. A stalky plant of some kind extends upwards, with sharp, arrow-like leaves that turn in at the edge giving the appearance that they are dry and in need of rain. A flower crowns the top of the plant, its petals curling over on themselves.<\/p>\n The carved ornamentations call attention to the surface of the wood, a rich, chocolate-hued wood with vertical striations and tonal variations. Though the wood species was not identified by Gall\u00e9, the distinctive striped quality of the wood suggests that this could be tigerwood (Figure 27), a variety of wood indigenous to Africa, and fitting with the title of the work. The African continent served as the main source of exotic wood in France, with nearly 65 percent coming from Afrique Occidentale Fran\u00e7aise (French West Africa).[2]<\/span><\/a> The use of this exotic bois des \u00eeles helps to elevate the status of this piece even more. This wood is also extremely dense, proving a difficult challenge for any woodworker to carve.[3]<\/span><\/a> The fact that Gall\u00e9 has executed so many individual elements and in such detail speaks to his skill as an artist, and as a woodworker.<\/p>\n <\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”3.26.3″ border_color_right=”#cfdbcf” border_color_bottom=”#e02b20″ border_style_bottom=”double”][et_pb_image src=”http:\/\/edspace.american.edu\/emilegallesfurniture\/wp-content\/uploads\/sites\/2166\/2023\/03\/Figure-3-Emile-Galle-Africa-bookcase-ca.-1900.png” show_in_lightbox=”on” align=”center” force_fullwidth=”on” admin_label=”Figure 18″ _builder_version=”3.26.3″ custom_margin=”||-1px|||”][\/et_pb_image][et_pb_text admin_label=”Figure 18 Caption” _builder_version=”3.26.3″ text_font=”PT Sans Caption||||||||” text_text_color=”#7aa397″ text_font_size=”11px” text_line_height=”1.2em” custom_margin=”-2px|||||” custom_padding=”5px|||||”]<\/p>\n Figure 26:<\/strong>\u00a0\u00c9mile Gall\u00e9,\u00a0<\/span>Africa<\/em>\u00a0Bookcase, ca. 1900. Tropical hardwood. From Alastair Duncan and Georges de Bartha,\u00a0<\/span>Gall\u00e9 Furniture\u00a0<\/span><\/em>(Suffolk: Antique Collectors\u2019 Club: 2012), 71.<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”3.26.3″ border_color_right=”#cfdbcf” border_color_bottom=”#e02b20″ border_style_bottom=”double”][et_pb_text admin_label=”Figure 18 Caption” _builder_version=”3.26.3″ text_font=”PT Sans Caption||||||||” text_text_color=”#7aa397″ text_font_size=”11px” text_line_height=”1.2em” custom_margin=”||||false|false” custom_padding=”||||false|false”] <\/p>\n <\/p>\n <\/p>\n [\/et_pb_text][et_pb_image src=”https:\/\/res.cloudinary.com\/govimg\/image\/upload\/v1606236861\/5936ba1278e8f3cd462cf480\/tiger-wood.jpg” show_in_lightbox=”on” align=”center” force_fullwidth=”on” admin_label=”Figure 23″ _builder_version=”3.26.3″][\/et_pb_image][et_pb_text admin_label=”Figure 18 Caption” _builder_version=”3.26.3″ text_font=”PT Sans Caption||||||||” text_text_color=”#7aa397″ text_font_size=”11px” text_line_height=”1.2em” custom_margin=”-32px|||||” custom_padding=”0px||||false|false”]<\/p>\n Figure 27:\u00a0<\/strong>Allen Phillips, Tigerwood Sample, PhillipsForestProducts.com.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,2_3″ custom_padding=”30px|||||” custom_margin=”-6px|auto||auto||” make_equal=”on” _builder_version=”3.26.3″ width=”85%” max_width=”none”][et_pb_column type=”1_3″ _builder_version=”3.26.3″][et_pb_image src=”http:\/\/edspace.american.edu\/emilegallesfurniture\/wp-content\/uploads\/sites\/2166\/2023\/03\/Figure-4-Emile-Galle-Bananier-Sellette-1900.-Cashew-wood-marquetry-in-various-woods.-Musee-dOrsay-Paris..png” show_in_lightbox=”on” align=”center” admin_label=”Figure 18″ _builder_version=”3.26.3″ width=”48%” custom_margin=”||-1px|||”][\/et_pb_image][et_pb_text admin_label=”Figure 18 Caption” _builder_version=”3.26.3″ text_font=”PT Sans Caption||||||||” text_text_color=”#7aa397″ text_font_size=”11px” text_line_height=”1.2em” custom_padding=”5px|||||”]<\/p>\n Figure 28:<\/strong>\u00a0E\u0301mile Galle\u0301,\u00a0<\/span>Bananier<\/em>\u00a0Sellette, 1900. Cashew wood, marquetry in various woods. 105 x 48 x 48 cm. Muse\u0301e d\u2019Orsay, Paris.<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”2_3″ _builder_version=”3.26.3″ border_color_right=”#cfdbcf” border_color_bottom=”#e02b20″ border_style_bottom=”double”][et_pb_text quote_border_color=”#cfdbcf” _builder_version=”3.26.3″ text_font=”PT Sans||||||||” link_font=”PT Sans||||||||” link_text_color=”#7aa397″ quote_font=”PT Sans|700|||||||” quote_text_align=”right” quote_text_color=”#065053″ quote_font_size=”16px” width=”100%” custom_padding=”||17px||false|false”]<\/p>\n Gall\u00e9 again showed his expert ability of refinement of raw materials in his small table, Bananier Sellette (Banana Tree Small Table<\/em>, 1900, Figure 28). The table is named for the banana tree, whose fruit was not grown domestically in France at that time. Rather, bananas and other tropical fruits were imported from French colonies in North Africa, West Africa, and the Caribbean.[4]<\/span><\/a> The table is a clear instance of Gall\u00e9 drawing inspiration from nature, and in this case, he applied the characteristics of a banana tree to the construction of the piece. The base of the table displays carved, streamlined edges and simplified forms, all alluding to the banana tree. The sellette<\/em>\u2019s legs are typically thin and delicate, with undulating strips at the bottoms of the legs that playfully evoke the form of a banana peel, half removed from the fruit. If carved from a single piece of wood, the immense precision and skill required to execute such a design are evident in the negative space between the \u201cpeel\u201d and the \u201cfruit\u201d of the leg. The legs travel up in Gall\u00e9\u2019s signature vine style, portions of each one branching off to meet one another in the center. A flower, carved from one solid piece of wood, grows up from the center, closely resembling a banana blossom (Figure 29-30). Each sculpted leg terminates into a rounded banana leaf, supporting the tabletop. Gall\u00e9\u2019s choice to use cashew wood, a bois des \u00eeles grown in the Caribbean, Africa, and South America, and to leave it untreated allows for the whole table to take on the golden hue of a ripe banana peel. The entire table is evocative not only of the tropical fruit, but of the trade happening between France and French colonies that allowed Gall\u00e9 access to both the fruit that inspired the table and the wood it was made from. By choosing to carve with excruciating detail a table inspired by the banana, Gall\u00e9 placed colonialism as central to his work as a fine artist, once again employing France\u2019s civilizing mission in his own artwork.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ _builder_version=”3.26.3″][et_pb_column type=”1_2″ _builder_version=”3.26.3″][et_pb_image src=”https:\/\/www.dropbox.com\/s\/fenx1ch8ew742z2\/Banana%20Blossom%20detail.png?raw=1″ align=”center” _builder_version=”3.26.3″ width=”75%” show_in_lightbox=”on”][\/et_pb_image][et_pb_text admin_label=”Figure 24 Caption” _builder_version=”3.26.3″ text_font=”PT Sans Caption||||||||” text_text_color=”#7aa397″ text_font_size=”11px” text_line_height=”1.2em” custom_padding=”5px|||||”]<\/p>\n Figure 29:<\/strong>\u00a0E\u0301mile Galle\u0301,\u00a0<\/span>Bananier<\/em>\u00a0Sellette [Detail], 1900. Cashew wood, marquetry in various woods. 105 x 48 x 48 cm. Muse\u0301e d\u2019Orsay, Paris.<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”3.26.3″][et_pb_image src=”https:\/\/www.dropbox.com\/s\/imyxqquqg3cajus\/Figure%2025-%20%20Nisa%20and%20Ulli%20Maier%20Photography%2C%20Fresh%20banana%20flower%20at%20a%20market%20in%20Kolkata%2C%20India.%20Digital%20Image.%20Getty%20Images%2C%20ND..jpg?raw=1″ _builder_version=”3.26.3″ width=”70%” module_alignment=”center” show_in_lightbox=”on”][\/et_pb_image][et_pb_text admin_label=”Figure 25 Caption” _builder_version=”3.26.3″ text_font=”PT Sans Caption||||||||” text_text_color=”#7aa397″ text_font_size=”11px” text_line_height=”1.2em” custom_padding=”5px|||||”]<\/p>\n Figure 30:<\/strong>\u00a0Nisa and Ulli Maier Photography, Fresh banana flower at a market in Kolkata, India<\/em>. Digital Image. Getty Images, ND.<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”3.26.3″ background_image=”http:\/\/edspace.american.edu\/emilegallesfurniture\/wp-content\/uploads\/sites\/2166\/2023\/03\/Cover-Page-Background.png” parallax=”on” parallax_method=”off” border_width_top=”2px” border_color_top=”#7aa397″ border_width_bottom=”2px” border_color_bottom=”#7aa397″ custom_padding=”||||false|false”][et_pb_row _builder_version=”3.26.3″][et_pb_column type=”4_4″ _builder_version=”3.26.3″][et_pb_button button_url=”https:\/\/edspace.american.edu\/emilegallesfurniture\/making-in-multi-chrome\/” button_text=”Making in Multichrome” button_alignment=”center” admin_label=”Next Section” _builder_version=”3.26.3″ custom_button=”on” button_text_size=”18px” button_text_color=”#7aa397″ button_bg_color=”#ffffff” button_border_color=”#7aa397″ button_border_radius=”10px” button_letter_spacing=”3px” button_font=”PT Sans|||||on|||” button_icon=”%%24%%” button_icon_color=”#7aa397″ button_on_hover=”off” button_bg_color__hover_enabled=”off” button_bg_color__hover=”#cfdbcf” button_bg_enable_color__hover=”on” button_text_color__hover=”#ac4003″ button_text_color__hover_enabled=”on” button_border_color__hover=”#ac4003″ button_border_color__hover_enabled=”on” button_icon_color__hover_enabled=”on” button_letter_spacing__hover=”5px” button_letter_spacing__hover_enabled=”on” button_icon_color__hover=”#ac4003″][\/et_pb_button][et_pb_button button_url=”https:\/\/edspace.american.edu\/emilegallesfurniture\/exhibiting-the-exotic-bois-des-iles\/” button_text=”Exhibiting the Exotic: Bois des \u00celes” button_alignment=”center” admin_label=”Next Section” _builder_version=”3.26.3″ custom_button=”on” button_text_size=”18px” button_text_color=”#7aa397″ button_bg_color=”#ffffff” button_border_color=”#7aa397″ button_border_radius=”10px” button_letter_spacing=”3px” button_font=”PT Sans|||||on|||” button_icon=”%%23%%” button_icon_color=”#7aa397″ button_icon_placement=”left” button_on_hover=”off” button_bg_color__hover_enabled=”off” button_bg_color__hover=”#cfdbcf” button_bg_enable_color__hover=”on” button_text_color__hover=”#ac4003″ button_text_color__hover_enabled=”on” button_border_color__hover=”#ac4003″ button_border_color__hover_enabled=”on” button_icon_color__hover_enabled=”on” button_letter_spacing__hover=”5px” button_letter_spacing__hover_enabled=”on” button_icon_color__hover=”#ac4003″][\/et_pb_button][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ fullwidth=”on” _builder_version=”3.26.3″ custom_margin=”||||false|false”][et_pb_fullwidth_header admin_label=”Footnotes” _builder_version=”3.26.3″ title_font=”PT Sans||||||||” content_font=”PT Sans||||||||” content_text_color=”#065053″ content_font_size=”11px” content_link_font=”PT Sans|700|||||||” content_link_text_color=”#ac4003″ background_color=”#cfdbcf” custom_padding=”27px|||||”]<\/p>\n <\/span><\/a><\/p>\n <\/span><\/a><\/p>\n <\/a><\/p>\n <\/p>\n [1]<\/span><\/a>. Duncan and de Bartha, Gall\u00e9 Furniture<\/em>, 56; I have not been able to track down an original version of the document, so I reference the version reproduced here.<\/p>\n <\/a>[2]<\/span>.<\/a> Minist\u00e8re des Colonies, Nos Richesses d\u2019outre-mer: Commerce et navigation<\/em>), 100.<\/p>\n [3]<\/span><\/a>. \u201cThe Pros and Cons of Tigerwood Flooring and Tigerwood Decking,\u201d Wagner Meters.<\/p>\n\n