Art Deco (Art of Century)
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Architecture, painting, furniture and sculpture, dissected by the author, proclaim the druthers for sharp lines and broken angles. Although ephemeral, this movement keeps on influencing contemporary design.
drawings displayed. In the function room, composed by Louis Sweats, the work Les Mois en Fête, seven large pages traced by Jaulmes, was rolled out on a pink background which dominated everything; figures, garlands, draperies, and foliages distributed the greys and blues. The perfect harmony of shades, selected as ideal to be viewed under candlelight, made us forget their strength. Traditional and “modern”, the arabesques decorated the walls in the manner of tapestries, without encumbering or
no less original than the pavilion of the Limoges area, where the furniture industry is doubly blessed, because of the presence of the tapestry workshops and the proximity of the walnut trees of the Dordogne and Corrèze regions. The Berry-Neverais region might perhaps have had a better understanding of its regional role than any other, by introducing a “modern” smallholding which included a vast common room comfortably furnished to contain an abundance of staff with ease, the small office where
close to France, and our architects, our artists, and our craftsmen work next to theirs, in search of new designs which summarise without destroying, which liberate without missing divine commitment. This was an inspired formula, illustrated by several books of high value in the Belgian section, either in the national pavilion built by this innovator who was, from 1890, the architect Victor Horta or in the galleries of the Esplanade des Invalides or in the halls of the Grand Palais. The fertile
these were built after considering the behaviour of this new material. As Paul Jamot wrote, these buildings attest “that a building which is governed solely by the systematic use of reinforced concrete, with the greatest possible savings of material and labour, [can] be beautiful in itself and, in spite of the absence of any superfluous ornament, be a work of art”. Which forms are thus born most naturally from reinforced concrete? Simple and large ones. As it lends itself to ample vaults, it
the Greeks and the Romans, and with so many masterpieces produced in Italy and in medieval France, consists of spreading colours diluted in water over a fresh plaster of faded lime and fine sand. Fixed on this mortar they become, whilst drying, as hard as the wall itself. The fresco, which requires prompt execution, is therefore a school of decision and, consequently, of reflection. The fresco painter has no time to either hesitate or get bogged down in the meticulousness of details. His