Name derived from early 19th Century cartoons of two smug bourgeois characters called "Biedermann" and "Bummelmeier" by the German satirist Ludwig Eichrodt. Subsequently used as an adjective to represent the style of decoration favoured by such people. Used in particular of Bohemian glass, often heavily-cut and/or with engraved, enamelled or gilded decoration, and popular between c 1815 and 1850
was the early part of the Romantic movement that avoids the dark aspects of life, i.e. death and sexuality. In Biedermeier texts, painful and dark issues are made idyllic. A good example of this is The Angel. It was a transitional period between Neoclassicism and Romanticism and closely linked with the bourgeoisie, particularly in the Scandinavian countries. Following the Napoleonic wars, the Biedermeier style grew during the economic impoverishment of the 1820s and 1830s. The term Biedermeier was derogatory and was based on a comic symbol of middle-class comfort, "Papa Biedermeier."
Designation for music of the early 19th century associated with the musical bourgeoisie and domestic music-making.