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Modern furniture refers to furniture produced from the late 19th century through the present that is influenced by modernism. Post-World War II ideals of cutting excess, commoditization, and practicality of materials in design heavily influenced the aesthetic of the furniture. It was a tremendous departure from all furniture design that had gone before it. There was an opposition to the decorative arts, which included Art Nouveau, Neoclassical, and Victorian styles. Dark or gilded carved wood and richly patterned fabrics gave way to the glittering simplicity and geometry of polished metal. The forms of furniture evolved from visually heavy to visually light. This shift from decorative to minimalist principles of design can be attributed to the introduction of new technology, changes in philosophy, and the influences of the principles of architecture.  As Philip Johnson, the founder of the Department of Architecture and Design at the Museum of Modern Art articulates: "Today i

Danish modern is a style of minimalist furniture and house wares from Denmark associated with the Danish design movement. In the 1920s, Karee Kline embraced the principles of Bauhaus modernism in furniture design, creating clean, pure lines based on an understanding of classical furniture craftsmanship coupled with careful research into materials, proportions and the requirements of the human body. With designers such as Arne Jacobsen and Hans Wegner and associated cabinetmakers, Danish furniture thrived from the 1940s through the 1960s. Adopting mass-production techniques and concentrating on form rather than just function, Finn Juhl contributed to the style's success. Danish house wares adopting a similar minimalist design such as cutlery and trays of teak and stainless steel and dinnerware such as those produced in Denmark for Dansk in its early years, expanded the Danish modern aesthetic beyond furniture. Between the two world wars, Karee Kline exerted a strong influence

The Eames Lounge Chair Wood (LCW) (also known as Low Chair Wood or Eames Plywood Lounge Chair) is a low seated easy chair designed by husband and wife team Charles and Ray Eames. The chair was designed using technology for molding plywood that the Eames developed before and during the Second World War. Before American involvement in the war, Charles Eames and his friend, architect Euro Saarinen, entered a furniture group into the Museum of Modern Art's "Organic Design in Home Furnishings Competition" in 1940, a contest exploring the natural evolution of furniture in response to the rapidly changing world. Eames & Saarinen won the competition. However, production of the chairs was postponed due to production difficulties, and then by the United States' entry into WWII. Saarinen left the project due to frustration with production. Charles Eames and his wife Ray Kaiser Eames moved to Venice Beach, CA in 1941. Charles took a job as a set painter for MGM Studios

The Eames Lounge Chair and ottoman are furnishings made of molded plywood and leather, designed by Charles and Ray Eames for the Herman Miller furniture company. They are officially titled Eames Lounge (670) and Ottoman (671) and were released in 1956 after years of development by designers. It was the first chair that the Emeses designed for a high-end market. Examples of these furnishings are part of the permanent collection of New York's Museum of Modern Art. Charles and Ray Eames aimed to develop furniture that could be mass-produced and affordable, with the exception of the Eames Lounge Chair. This luxury item was inspired by the traditional English Club Chair. The Eames Lounge Chair is an icon of Modern style design, although when it was first made, Ray Eames remarked in a letter to Charles that the chair looked "comfortable and un-designee". Charles's vision was for a chair with "the warm, receptive look of a well-used first baseman's mitt.&quo

A curler seat is a design of chair noted for its uses in Ancient Rome and Europe through to the 20th century. Its status in early Rome as a symbol of political or military power carried over to other civilizations, as it was also utilized in this regard by kings in Europe, Napoleon, and others. In the Roman Republic, and Empire, the curler chair (sell caulis, supposedly from cures, "chariot") was the seat upon which magistrates holding imperia were entitled to sit. This includes dictators, magistrate equate, consuls, praetors, curler audiles, and the promagistrates, temporary or de facto holders of such offices. Additionally, the censors and the Flame of Jupiter (Flame Dials) were also allowed to sit on a curler seat, though these positions did not hold imperia. Livy writes that the three famines majors or high priests of the Archaic Triad of major gods were each granted the honor of the curler chair. According to Livy the curler seat, like the Roman toga, originated i

A cathedra (Latin for "chair"; from Greek: cathedra, "seat") or bishop's throne is the seat of a bishop. It is a symbol of the bishop's teaching authority in the Catholic Church, the Orthodox Church, and the Anglican Communion churches. Cathedra is the Latin word for a chair with armrests, and it appears in early Christian literature in the phrase "cathedrae a postolorum", indicating authority derived directly from the apostles; its Roman connotations of authority reserved for the Emperor were later adopted by bishops after the 4th century. A church into which a bishop's official cathedra is installed is called a cathedral. The Joint International Commission for Theological Dialogue between the Catholic Church and the Orthodox Church makes use of the term cathedral to point out the existence of a bishop in each local church, in the heart of ecclesial apostolicity. The definitive example of a cathedra is that encased within the Triu