By Victoria Charles, Klaus H. Carl
Paintings Deco kind was once tested at the ashes of a disappeared global, the only from sooner than the 1st international battle, and at the origin stone of a global but to turn into, opened to the main undisclosed delivers. Forgetting herself within the whirl of Jazz Age and the euphoria of the “Années Folles”, the Garçonne together with her linear form displays the architectural variety of artwork Deco: to the rounded curves prevail the straightforward and simple androgynous directly line…
Architecture, portray, furnishings and sculpture, dissected via the writer, proclaim the druthers for sharp traces and damaged angles. even supposing ephemeral, this flow retains on influencing modern layout.
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Extra info for Art Deco
7 cm. 30 Reinforced concrete and its derivatives played such a large part in the Exhibition that a classification based on the implemented materials would not ensure a clearer approach. 31 Jean Dunand, Lacquered panel with gold leaf, 1930. 32 33 34 It would be better to look at the achievements of the various projects, starting with the section’s over plans. The French section comprised two main areas, almost perpendicular to each other: one of them marked by the Seine between the Pont de la Concorde and the Alma Bridge, the other one, leading alongside the Avenue Nicolas II, the Alexandre III Bridge, and the alley bisecting the section cutting across the Esplanade des Invalides from north to south.
The visitor was only to assess what was in front of him as full-scale mock-up. But we could admire the elegance of the silhouettes, the equal distribution of the framework and the openwork panels, the welcoming appearance of the whole which, although starting out with a wide angled frame, gradually narrowed, guiding the visitor and his view towards the centre of the Exhibition. Favier and Ventre only had to raise a gate spanning an avenue lined with constructions to house exhibits. More complex was the problem Patout had to deal with at the entrance of the Cours-la-Reine.
But this was nevertheless a significant detail. Elsewhere, the architects endeavoured to adapt their composition to the terrain and the existing topiary. Le Corbusier, on the contrary, wanted to demonstrate a priori, his abstract schema, able to be replicated on any other site, with contempt for the trivial circumstances to which others did not hesitate to alter their designs. This schema, in spite of the excesses, is well worth considering and could open up new prospects to observers. The rest-stop pavilion, where a pleasant restaurant fits naturally into its space, was halfway between the old inns without comfort, though amusing for the eye of the painter, and the “dwelling machine” of Le Corbusier.
Art Deco by Victoria Charles, Klaus H. Carl