Chippendale, Thomas托马斯·齐彭代尔
Chippendale, Thomas, 1718–79, celebrated English cabinetmaker. His designs were so widely followed that a whole general category of 18th-century English furniture is commonly grouped under his name.
Chippendale's Gentleman and Cabinet-Maker's Director, an illustrated trade catalog first published in 1754, was widely influential in England and America. Among the numerous pieces stamped with his style, it is possible to assign unquestionably to his own workshop only those for which the original bills still remain, as in the case of Harewood House and Nostell Priory, whose furnishings were created by him. While he based his work upon the general Queen Anne and Georgian characteristics of sober design and thoroughly fine construction, retaining many of the early 18th-century details, Chippendale's distinction was to introduce many other forms.
For these he used three outside inspirations—Chinese, Gothic, and contemporaneous French rococo. The first two resulted naturally from the general mid-18th-century enthusiasms for chinoiserie decoration and pseudo-Gothic architecture. Chippendale's name is emphatically identified with the extensive variety of chair types that he developed—from geometrical to Chinese, lattice, or sumptuously carved and interlaced forms.
Chippendale's varied output also included desks; mirror frames; hanging bookshelves; settees, with which he was especially successful; china cabinets and bookcases, frequently with fretted cornices and latticework glazed doors; and tables with delicately fretted galleries and distinctive cluster-column legs of Gothic inspiration. The last phase of his career shows the influence of the designs of Robert Adam. Chippendale's style, quickly imported to America, was imitated by a number of expert cabinetmakers. (Infoplease, photos from The Yorkshire Dales)
附：关于齐彭代尔与明式家具的资料
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明式家具造型简练、朴素、大方，大多从实用角度出发，讲究美观、舒适。其造型结构具有很高的科学性与艺术性，且材质珍贵，做工精细，享有盛誉。明朝灭亡后，皇宫内及各地王府内的家具大量流向社会，成为普通人家的生活用品。进入康熙时期，适逢西方传教士来华传教，看到了中国的明式家具，于是多方购买，运送回国，以为陈设品，一时形成热潮。
明式家具造型简练、朴素、大方，大多从实用角度出发，讲究美观、舒适。其造型结构具有很高的科学性与艺术性，且材质珍贵，做工精细，享有盛誉。明朝灭亡后，皇宫内及各地王府内的家具大量流向社会，成为普通人家的生活用品。进入康熙时期，适逢西方传教士来华传教，看到了中国的明式家具，于是多方购买，运送回国，以为陈设品，一时形成热潮。
形成这一热潮的原因是，16～17世纪欧洲文艺复兴后期，当时西方的巴洛克、罗可可式(或曰路易十四式、路易十六式)处于没落过时时期，当时的西方人，迫切寻求一种新的风格来代替它。这种风格，按西方人的要求，应是一种静中带动，动中有静的风格。而中国的明式家具恰恰完全具备了这种风格。据史料记载，当时(相当于中国清代的乾隆年间)英国有位名叫齐彭代尔的家具设计师，依据中国明式家具的原理，为英国王室设计了一套宫廷家具，曾经轰动整个欧洲。自此之后，中国明式家具在欧美各国开始享有很高的地位，在国际市场上价值一直没有降低过。（胡德生）
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