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We owe much of our knowledge of his work to the folio volume of his furniture designs published at
Amsterdam in 1712. Not surprisingly the designs show strong French and Dutch influences; what reads as their "English" look is more probably the result of Marot's court style on other London designers.
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and state beds, in the new State Rooms readied for
William at Hampton Court bears unmistakable traces of his authorship; the tall and monumental embroidered state beds, with their plumes of ostrich feathers, their elaborate valances and cantonnieres agree very closely with his later published designs
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and wall brackets, and side tables with their pairs of tall stands. He also designed gold and silver plate. The craze for collecting china which was at its height in his time is illustrated in his lavish designs for receptacles for porcelain: in one of his plates there are more than 300 pieces of
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129:) we know from his own engraving that he designed the great hall of audience for the States-General at the Hague. He also decorated many Dutch country-houses, introducing the “salon” and popularizing ornamented ceilings in The United Provinces/ Netherlands.
106:(1685) to settle in Holland. Daniel Marot brought the fully developed court style of Louis XIV to Holland, and later to London. In the end, the English style which is loosely called "William and Mary" owed much to his manner.
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After
William's death Marot returned to Holland where he lived at the Noordeinde 164 in The Hague from 1720 until his death in 1752. The house with his salon, kitchen, hallway and possibly some of his ceilings still exists.
147:, which were swept away in the following generation and have been restored at the end of the 20th century. His designs for the Great Fountain Garden survive. Much of the furniture, especially the mirrors,
82:, who was also an architect and engraver. Marot was working independently as an engraver from an early age, making engravings of designs by
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designs, Marot's range was extraordinarily wide. He designed practically every detail in the internal ornamentation of the house: carved
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Dynastic
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and were part of the wave of émigrés who left France in the year of the
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designer and engraver at the forefront of the classicizing Late
Baroque
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as he was the son of Gole's sister-in-law. He married Gole's niece.
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Das
Ornamentwerk des Daniel Marot: in 264 Lichtdrucken nachgebildet
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264:Stefan van Raaij; Paul Spies (1988).
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132:In 1694, he traveled with William to
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46:(1661–1752) was a French-born Dutch
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192:china on the chimneypiece alone.
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403:Immigrants to the Dutch Republic
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127:Dictionary of British Architects
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393:French Baroque architects
335:Life and Design Examples
140:, where he designed the
88:Manufacture des Gobelins
23:Daniël Marot (1661–1752)
250:Encyclopædia Britannica
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167:Marot was a nephew of
115:William III of England
100:Edict of Fontainebleau
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44:Daniel Marot the Elder
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373:Architects from Paris
330:at Wikimedia Commons
244:"Marot, Daniel"
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138:Hampton Court Palace
74:, he was a pupil of
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378:French Protestants
317:External reference
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326:Media related to
305:978-1-317-26637-2
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368:1752 deaths
363:1661 births
169:Pierre Gole
84:Jean BĂ©rain
352:Categories
275:9067071919
196:References
189:girandoles
175:Engravings
80:Jean Marot
149:guéridons
145:parterres
96:Huguenots
52:furniture
48:architect
181:engraved
92:tapestry
70:Born in
179:In his
119:Het Loo
109:In the
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134:London
72:Paris
300:ISBN
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66:Life
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