Art Deco Table

Beautiful And Large Art Deco Metal And Glass Lamp 1930/1940


Beautiful And Large Art Deco Metal And Glass Lamp 1930/1940
Beautiful And Large Art Deco Metal And Glass Lamp 1930/1940
Beautiful And Large Art Deco Metal And Glass Lamp 1930/1940
Beautiful And Large Art Deco Metal And Glass Lamp 1930/1940

Beautiful And Large Art Deco Metal And Glass Lamp 1930/1940   Beautiful And Large Art Deco Metal And Glass Lamp 1930/1940
Beautiful art deco / 1940 style lamp with a metal tulip shape in very good condition. Some minimal traces of use for this vintage lamp. A pretty foot made of strips of frosted glass. Dimensions: 35 cm high and 25 cm in diameter.

For all amateur knoll, nelson, marcel breuer, ludwig mies van der rohe, eero saarinen, isamu noguchi, frank gehry and ross lovegrove, charles and ray eames, charlotte perriand, jean proven, the corbusier, mathieu matégot, franco albini , marco zanuso, gio ponti etc ... Art Deco is an artistic movement. And which flourished in the 1920s.

Before declining from the 1930s. This is the first architecture-decoration movement of a global nature. The art deco style takes its name from the international exhibition of modern decorative and industrial arts. "Art Deco" is the abbreviation for "decorative arts\More specifically, the interior architecture with its tapestries, stained glass, paintings and ornamental sculptures, its cabinetmaking, the use of ceramics, goldsmithery. Beginning on large series of home and office equipment can be associated, as well as fashion.

Signals and advertisements posted and signs. The Art Deco style takes off before the First World War. Against the volutes and organic forms of art nouveau.

It consists of a return to classical rigor: symmetry, classical orders (often very stylized), cut stone (without any picturesque effect). The decor, generally still very present, no longer has the freedom of the 1900s. It is strictly framed by its creators and its design is inspired by cubist geometry.

Order, color and geometry: the essence of art deco vocabulary is laid. Vocabulary taking different forms depending on the region, according to the architects and their clients, its stylistic unity is the use of geometry (geometry) whose purposes are essentially decorative and non-structural, unlike the movement of the front international guard, also called modernism. Which establishes architectural principles of volumes of bays and harmonic circulations. These two architectures of "rich" decoration and, on the other hand, of the "purity" given by simplicity will in fact include bridges between them according to the rigor of application of principles used by architects in the country of application. With variations of individual style of pragmatic order production.

Art deco is the first style to have had a worldwide diffusion, touching first France. North Africa, and all Anglo-Saxon countries.

And its active art deco associations, canada. , as well as the main cities of Vietnam.

For the initial movement, several Chinese cities such as Shanghai. Or Japan, for example, for Prince Asaka's palace in Tokyo.

This section does not sufficiently mention its sources. A reaction movement against art nouveau. Appears from the beginning of the century in France, and even earlier abroad as in Belgium. Some already describe the art nouveau forms as "soft" or "noodle style". They are therefore moving towards simple lines, classical compositions and a sparse use of decor.

This desire to return to order, symmetry and sobriety takes different expressions depending on the country. For example, the waving line of the early art nouveau times is quickly replaced by a network of orthogonal lines and simple volumes, under the influence of the Scottish architect and designer, Charles Rennie Mackintosh. The iconic artists of this trend are josef hoffmann.

The chance of an order placed with josef hoffmann. Introduces this evolution to Brussels. The interiors, known by photographs, mobilize all wiener werkstätte. And the painter gustav klimt.

In France, the first signs of this desire for change are perceptible as early as the 1900s. Analyzing the work of a henri bellery-desfontaines. Publishes a method of ornamental composition that gives pride of place to geometric shapes and its variations. This vision contrasts with the undulating freedom of the style of hector guimard. So popular in Paris a few years earlier. The following year, Paul Iribe. A fashion album whose aesthetic strikes the Parisian milieu with its novelty. Third important event, the autumn salon.

From 1910 the invitation of the artists of Munich who for several years had adopted strict and stripped forms. Around 1910, the French decorators andré mare.

From the architectural point of view, between 1910 and 1913, the site of the Théâtre des Champs-Élysées opened. Another sign of the radical aesthetic change experienced by the Parisian milieu of the time. First entrusted to Henry van Velde. The design and construction are quickly returning to auguste perret. The rigorous composition of the facade and the measured place left to decor hit the spirits at the inauguration in 1913. Renews since the beginning of the century formal architectural landmarks and technical references by buildings stepped. These evolutions are summed up in 1912 under the pen of andré vera. His article, "The New Style\Which are asymmetrical, polychrome, picturesque, and which excite feelings more than reason.

He calls for a "voluntary simplicity\The end of the article urges artists to draw inspiration from classicism. Century marked by "clarity, order and harmony". He calls to resume the thread of the history of French styles from the period louis-philippe. The last words of vera describe two themes that will be omnipresent in the future art deco style.

"The basket and the garland of flowers and fruits". The influence of the painting of the 1910s is done, moment of diffusion and popularization of Fauvism. The painters of the golden section.

Exhibit works often more accessible to the public than were those of picasso. From the period of analytical cubism. And the shimmering colors contrast with the fragmented and avant-garde still lifes of the pioneers of the movement.

Cubist vocabulary seduces designers of fashion, furniture and interior design. Finally, the 1910s paris discovers the Russian ballets serge diaghilev.

Mixing dance, music, and painting, inspired by the Arabian Nights. They are an invitation to luxury and exoticism; the costumes are created by leon bakst. Where the fashion of the fans, the feathers, the streams of water, the bright colors.

Unusual colors will be present in the decor and furniture: we will see boudoirs with orange walls, salons lined with black. The crazy years after the first world war. The mansion of jacques doucet.

Designed the staircase, Henry Lauens. The mantel of the fireplace, louis marcoussis. And others collaborated on the decoration of the studio. Bureau-library of the French embassy of pierre chareau. At the International Exhibition of Modern Decorative and Industrial Arts of 1925, Museum of Decorative Arts. While Germany in the 1920s is the subject of a serious economic crisis that will testify the artists of the new objectivity. , France sees its economy start again. The world in its entirety outside these two antagonistic poles is putting on the hour of speed and rapid movements. This resumption of world peace can not make us forget the difficulties left on the ground by the war; the destroyed cities had to be rebuilt.

For example, have been razed to 80% and will be rebuilt largely in an architectural style of the present. And of its wealth constituted by art deco. The ambient mentality is changing with this long war that brings together people from all over the world. It modifies in the post-war the significance of the contents of the museums, become modern ethnographic.

It also changes the way the artistic world views what was confined to the exotic, like what was previously produced in. English architecture of city houses and gardens.

Modernism concerns cities connected to the world, for example Bordeaux. However, the monetary instability in Europe generates a constant price increase until 1927 in France and the French legislation on rents causes a strong housing crisis for the middle and lower classes. But the early 1920s also saw manifestations of the presence of financial wealth remained intact of the wealthiest classes in France.

In Paris, as in large provincial cities, commentators of the time observe the construction of rich apartment buildings, villas and mansions. These are prolific projects for decorating artists and art deco architects.

The trend is a simplification of the work to gain in speed of execution, a trend which structures all the architecture with modern principles, until using constructive structures in reinforced concrete and metal profiles. This desire for height is contained in the town planning plans which derogate from their rules only if the architecture of the construction justifies it. The sufficient reason is the contribution of structural progress of the shelter (construction of integrated garages for example) or aesthetic (heritage character) in the construction.

Because, overall, the 1920s are also the scene of developments in different areas. There is a strong interest for the richness of decoration, for the aspect felt and less interest for the constructive structure and the principles of wide bays and the visible circulation in the building. This architecture is close to the so-called "modernist" structural architecture. Promotes a strong interest for the constructive structure, with its translation by the bays and circulations. Architects and building owners show less interest in the apparent richness symbolized by the decoration.

The real motivation can also be that of the financial economy, close to the economy of the pain suffered by the habitat, an architectural action defining the "gesture of living" and theorized at the time see, for example, the structured kitchen component. And dining room in the habitat, studied by the Austrian architect, margarete schütte-lihotzky. These architectures will in fact have conceptual bridges between them, according to the rigor of application of the theories and styles used by architects in the countries, this added to the flattering style pride where they build, and according to the modernity of the work such as it is defined on the place of construction (architecture can remain in the colonial spirit). Intercontinental Laviation begins with Charles Lindbergh.

The automobile, the telephone are established, the theory of relativity of Albert Einstein. The development of Sigmund Freud's theories. Is sensitive in Europe and applies to the well-to-do, aware of the progress of medicine, even if it only affects an intellectual elite. From the beginning of the century, relying precisely on the theories of the unconscious. In response to the human disasters of the First World War.

Evokes the "call to order" (also called "back to order") that we see in art and literature. This is paul valéry's time. Who publishes eupalinos or the architect. Abandon cubist fragmentation to draw inspiration from classical painting and especially ingres.

At the same time, this movement from Europe touches the elite of the United States, which finds the basis of its modern emancipated movement. Becomes fully a "dream factory" and the productions of major studios are broadcast across Europe.

Transatlantic steamers and art deco. In the 1920s and 1930s, before the advent of long-distance commercial aviation, the main means of intercontinental transportation was the ocean liner. The fierce competition between companies such as the cunard-white star, the hapag (germany), the general transatlantic company. Or transat (france) and the company flote riunite italiane (italy), doubles as a struggle of prestige between nations to bring online ever faster, elegant and comfortable liners. From the 1920s shipyards began to choose modernism for interior design and decoration of ships. While the English ships queen mary. Remain impressed of a classicism quite wise, in the continuity of their elders mauretania. Or titanic, the transatlantic general company (more familiarly the "transatlantic") dares modernism for the liner Ile de France. From 1935, true cathedral on sea of ​​art deco with decorators such as louis süe. Patout and pacon, raymond subes. The Germans follow the movement with the bremen. Whose interior spaces have been entrusted to the great architect paul troost. Italy is not left with the two ships rex.

Emblematic of the Mussolini era. The decoration of which combines modernism and reinterpretation of Roman antiquity. Luxury transatlantic liners are such symbols of progress and opulence, a dream of a better life, that earthly architects capitalize on this prestige and design buildings inspired by the most beautiful transatlantic ships. This is the case of georges-henri pingusson. With the hotel latitude 43.

From the hotel normandie de porto rico. And many other buildings of the 1930s that reflect the stylistic features of the flagship of the transatlantic: rounded volumes, terraces or even windows in horizontal curtains. In France or modern streamline in the United States. Applied arts and 1925 style, then art deco. The word "art deco" was born in the 1960s.

To describe the style that triumphs at the international exhibition of modern decorative and industrial arts, which takes place in Paris. Appellations applied arts or 1925 style preceded it. "Art deco" (American designation, e instead of é) is a contemporary style of art.

Two very different tendencies coexist in this set of buildings manufacturing, the development of cruise ships, furnishing of furnishing objects. The traditional trend is the "Art Deco" style that caters to a wealthy elite from 1920 to the present day. The modern trend, functional from 1910: it is the beginning of the design to see uam. In 1929, looking for industrial production, for a mass clientele.

It was a real but brief artistic explosion concerning many disciplines. In France, hospitals, post offices, schools, stadiums and air terminals as well as passenger terminals and large hotels bear this architecture. One of the themes in ostentatious architecture was to use the shapes of the objects used daily by the building owner to apply them to the building. Thus, the roof of the chrysler building.

In the United States, evokes the bumper cars of the brand. This concept reaches its climax later with the crazy California style.

Where the oversized object is an element of the building or the building in its entirety buildings shaped hot dog. This formulation of art deco also allows a return to forms and materials pre-modern staff use. Remarkably supported in some achievements. The façade statuary is derived from the classical and ancient formulation of Atlanteans. A formulation carrying protective religious symbols. A symbolic reformulation is applied to this statuary, a positive marking. There, the statuary represents neutral figures or personal representations of the corporate patrons marking their importance (as in antiquity). Contemporary materials (eg plastics) are used. The purified forms of stained glass, their sometimes figurative (to represent factories), sometimes abstract, motifs are representative of the contemporary world of the time, of industrialization. Without a true leader or established theory, art deco was criticized in the architectural creative milieu in its early years for its superficiality. This architecture was particularly used for all the buildings having to enhance the image of its sponsor, or evoking the leisures: the commercial architecture shop, head office, etc.

, theaters and cinemas, but also domestic architecture (the decor serving as a sign of social distinction at receptions, very popular in all the countries concerned). Affecting the wealthier classes first, this style was quickly demanded throughout the social body and became very popular. Concerning the profession of the architect, this period formulates the evolution of the profession of architect-artist into architect-assembler who combines for a site of the artists and the techniques of craftsmen or industrialists. The contemporary cultural importance of art deco varies from country to country. It is relatively weak in France, its country of origin.

It is only a counterpoint to the stripped-down modernist architecture, which was very popular in all social classes after the Second World War. It is important in Belgium. It has been present in colonial North Africa and mixes with its counterpart, the rigorous architecture of the modern movement. To constitute a patrimony to be preserved today after decolonization. And the Art Deco style has been very important in the history of Canada and the United States (with its skyscrapers marking its richness), two countries integrating architectures from other countries, whose Western culture was refined in comparison.

This was where the decorative arts were created and where they continue. This component is important in the "short history" of these countries, which leads to their cultural independence, where the destruction of local heritage is not due to wars. This style is the mark of wealth of the future jet set. In constitution after the second world war, which replaces the customers of the steamers. Luxury that connected Europe to the Americas. This architecture is carried by ostentatious and symbolic entrance halls, luxurious elevator vertical circulations and interiors in floors just as refined, as well as inscriptions and symbolic statuary exterior figures. In South America, this style exists in the same way for the same reasons. Sandstone vase signed "Mougin brothers\Interior decoration of the aubette. Ludwig mies van der rohe. With sets by robert mallet-stevens. An emblematic figure of the art deco period is the boy. We are witnessing the emancipation of women, who occupy a place at least equal to that of men, in the 1920s. The word comes from the novel.

From the same name written by Victor Daisy. The most beautiful representations of the boy are suzanne lenglen. The use of concrete overlay provides a smoother and bareer surface than brick, recalling the massive blocks of stone used in these earlier civilizations.

The frames are mostly oak. Molded or plated structures use mahogany. Contrasts of light wood (lemon) and dark wood (amaranth), colors and materials. If upholstery is used, stylized wall decorations are painted on walls and on wallpapers. Cigarette case created by Pierre Legrain.

Around 1925, presenting a polychrome geometric decoration characteristic of the art deco period. The volumes are parallelepipedic, with sharp angles, or rounded, or with cut sides. The circle and loctogone are also appreciated. Art Deco skyscrapers are usually made of stacked segments of decreasing size whose junctions are at right angles.

In general, this geometry is the result of the new urban plans put in place. The cornices and window lintels are covered with high geometric reliefs. The furniture originally from the 1925 style is the last witness of a long French tradition. The seats are often inspired by directoire or restoration.

A concern for comfort is to be noticed in the armchairs, inspired by the club chair. The wood is inconspicuous and often concealed by a leather or textile covering. The cozy corner, a creation of the time, is all the rage. It is a corner sofa, embedded in a woodwork with various shelves. Dressers and support furniture have a very often curved facade, even belly.

The tables are round, oval or rectangular with broken angles. The hairdressers and ladies' desks are particularly refined. The forms of furniture remain classic, with sometimes reminders of earlier styles: louis xvi. Louis Philippe and traditional African furniture.

But the cubist art will push for a simplification of forms. Furniture is often supported by pedestals. If the line is refined, the furniture displays a neat and often luxurious decoration. Solar representations with rays are recurrent.

The sculpture is very flat. It uses a geometric repertoire, floral or animal, very stylized, geometric. The rose is very present in bouquet, basket, garland. For the treatment of surfaces, we use gilding, lacquer or marquetry. Inlay of nets, influence of Negro art.

Or metal (silver, copper, brass, aluminum). We highlight the color of some woods, such as maple. Tinted in red, blue, green or gray taste of the polychrome born of Russian ballets. The figures are stylized, the motifs regularly repeated.

The fabric often saturates the interiors with jerky and lively rhythms reminiscent of those of the light music of the time. All the motifs and influences already mentioned are repeated with a constancy that contributes, certainly, to the unity of style, but also ends up making the interiors stifling. The art deco furniture is the work of decorating artists for a well-off clientele, thirsty for novelty, but who remains relatively conformist. This is furniture made by cabinetmakers who seek luxury and perfection.

The furniture is therefore unique pieces. The art deco formula characterizes an internationally-styled decorative style. Initially art deco, modern style, or international, belongs to a world of luxury and doping, it is an amalgam of art and craft. The Hotel Paris Bastille Boutet. Association of art deco cities.

Art deco architecture in Reims. Les halles du boulignrin (1929), maigrot architect. Architects: marcel rousseau and emile thion. (9-11, rue de thillois); architects: marcel rousseau and emile thion 1923. And 11, rue des élus; architects: ferdinand amann and albert cuvillier (1927).

(2-4, rue des Capucins); architect: lucien gillet (1930). Familistère of the Remois docks. Old department stores in little Paris. Old Reims galleries rue doctor-jacquin.

Crossbow Street; architects: leon margotin. 22, rue Courmeaux; architect: jacques rapin 1923. The villa collar, located at ay.

Art deco architecture in Saint-Quentin. The facade of old cinema the carillon. The hall of the central post office. The conservatory of music and theater.

The buffet at the station of Saint-Quentin. The city council hall of the city hall. Belvedere hotel of the green ray. Saint-jean-baptiste church of bagnoles-de-l'orne. Studio Saint James of Jacques Doucet.

This is the enlarged part from 1931. Residential building at 90 bis, pavement of the pond. (94160), France, on the edge of the. District of Paris ; architect: aristide daniel 1930. Palace of the Golden Gate. The eccentric district of rosendael. The big place of Bethune. The item "beautiful and large art deco lamp metal and glass 1930/1940" is on sale since Monday, April 2, 2018. It is in the category "art, antiques \ furniture, decoration twentieth \ twentieth century design \ tables" The seller is "djam2021" and is located in / in finistere. This item can be shipped to the following country: europe.
Beautiful And Large Art Deco Metal And Glass Lamp 1930/1940   Beautiful And Large Art Deco Metal And Glass Lamp 1930/1940