HENRI SAUVAGE (1873-1932) 018 Ifa
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In This Issue in Toronto and Jewelry Deco Pavilion
F A L L 2 0 1 3 Major Art Deco Retrospective Opens in Paris at the Palais de Chaillot… page 11 The Carlu Gatsby’s Fashions Denver 1926 Pittsburgh IN THIS ISSUE in Toronto and Jewelry Deco Pavilion IN THIS ISSUE FALL 2013 FEATURE ARTICLES “Degenerate” Ceramics Revisited By Rolf Achilles . 7 Outside the Museum Doors By Linda Levendusky . 10. Prepare to be Dazzled: Major Art Deco Retrospective Opens in Paris . 11. Art Moderne in Toronto: The Carlu on the Tenth Anniversary of Its Restoration By Scott Weir . .14 Fashions and Jewels of the Jazz Age Sparkle in Gatsby Film By Annette Bochenek . .17 Denver Deco By David Wharton . 20 An Unlikely Art Deco Debut: The Pittsburgh Pavilion at the 1926 Philadelphia Sesquicentennial International Exposition By Dawn R. Reid . 24 A Look Inside… The Art Deco Poster . 27 The Architecture of Barry Byrne: Taking the Prairie School to Europe . 29 REGULAR FEATURES President’s Message . .3 CADS Recap . 4. Deco Preservation . .6 Deco Spotlight . .8 Fall 2013 1 Custom Fine Jewelry and Adaptation of Historic Designs A percentage of all sales will benefit CADS. Mention this ad! Best Friends Elevating Deco Diamonds & Gems Demilune Stacker CADS Member Karla Lewis, GG, AJP, (GIA) Zig Zag Deco By Appointment 29 East Madison, Chicago u [email protected] 312-269-9999 u Mobile: 312-953-1644 bestfriendsdiamonds.com Engagement Rings u Diamond Jewelry u South Sea Cultured Pearl Jewelry and Strands u Custom Designs 2 Chicago Art Deco Society Magazine CADS Board of Directors Joseph Loundy President Amy Keller Vice President PRESIDENT’S MESSAGE Susanne Petersson Secretary Mary Miller Treasurer Ruth Dearborn Ann Marie Del Monico Steve Hickson Conrad Miczko Dear CADS Members, Kevin Palmer Since I last wrote to you in April, there have been several important personnel changes at CADS . -
Le Corbusier Y El Salon D' Automne De París. Arquitectura Y
Le Corbusier y el Salon d’ Automne de París. Arquitectura y representación, 1908-1929 José Ramón Alonso Pereira “Arquitectura y representación” es un tema plural que abarca tanto la figuración como la manifestación, Salón d’ Automne imagen y escenografía de la arquitectura. Dentro de él, se analiza aquí cómo Le Corbusier plantea una interdependencia entre la arquitectura y su imagen que conlleva no sólo un nuevo sentido del espacio, sino Le Corbusier también nuevos medios de representarlo, sirviéndose de los más variados vehículos expresivos: de la acuarela Équipement de l’habitation al diorama, del plano a la maqueta, de los croquis a los esquemas científicos y, en general, de todos los medios posibles de expresión y representación para dar a conocer sus inquietudes y sus propuestas en un certamen Escala singular: el Salón de Otoño de París; cuna de las vanguardias. Espacio interior Le Corbusier concurrió al Salón d’ Automne con su arquitectura en múltiples ocasiones. A él llevó sus dibujos de Oriente y a él volvió en los años veinte a exhibir sus obras, recorriendo el camino del arte-paisaje a la arquitectura y, dentro de ella -en un orden inverso, anti-clásico-, de la gran escala o escala urbana a la escala edificatoria y a la pequeña escala de los espacios interiores y el amueblamiento. “Architecture and Representation” is a plural theme that includes both figuration as manifestation, image and Salon d’ Automne scenography of architecture. Within it, here it is analyzed how Le Corbusier proposes an interdependence between architecture and image that entails not only a new sense of space, but also new means of representing it, using Le Corbusier the most varied expressive vehicles: from watercolor to diorama, from plans to models, from sketches to scientific Équipement de l’habitation schemes and, in general, using all possible expression and representation means to make known their concerns and their proposals, all of them within a singular contest: the Paris’s Salon d’ Automne; cradle of art avant-gardes. -
La Villa Majorelle
LA VILLA MAJORELLE Dossier enseignants usée de del’École Nancy, cliché Caron P. © Nancy, m Nancy Musées Département des Publics [email protected] 03 83 17 86 77 (du lundi au vendredi de 9h à 12h30) Enseignant référent Nathalie Vergès [email protected] Sommaire 03 Introduction 04 Le quartier 06 L’architecture de la villa 08 Les façades 11 Les entrées 13 Les céramiques 16 Propositions de mise en œuvre pédagogique 20 Activités à proposer aux élèves 2 Introduction D. D. Boyer usée de del’École Nancy, cliché © Nancy, m « Une villa moderne » Ce titre est celui de l’un des premiers articles 1 consacrés par la presse à la villa Majorelle en 1902. L’auteur y manifeste son admiration pour le caractère novateur de cette maison construite « par un artiste pour un artiste ». La villa Majorelle est élevée dans les années 1901-1902 , dans ce qui est encore la banlieue peu urbanisée de Nancy. Louis Majorelle décide de construire, au milieu d’un parc arboré, ses ateliers et sa villa. Il dénomme celle-ci Jika en l’honneur de son épouse Jeanne Kretz (initiales JK). Cette villa est le fruit d’une collaboration entre un architecte, Henri Sauvage , qui débute sa carrière, et un industriel d’art déjà reconnu, Louis Majorelle . Les deux hommes se connaissent car ils fréquentent les mêmes lieux parisiens, l’atelier du sculpteur Alexandre Charpentier en particulier. Ils y côtoient d’autres artistes, tels Hector Guimard et le peintre Francis Jourdain, qui participa à la décoration de la villa Majorelle. -
Qt0m64w57q.Pdf
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Ideologies of Pure Abstraction Permalink https://escholarship.org/uc/item/0m64w57q Author Kim, Amy Chun Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Ideologies of Pure Abstraction By Amy Chun Kim A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Whitney Davis, Chair Professor Todd Olson Professor Robert Kaufman Spring 2015 Ideologies of Pure Abstraction © 2015 Amy Chun Kim Abstract Ideologies of Pure Abstraction by Amy Chun Kim Doctor of Philosophy in History of Art University of California, Berkeley Professor Whitney Davis, Chair This dissertation presents a history of the development of abstract art in the 1920s and 1930s, the period of its expansion and consolidation as an identifiable movement and practice of art. I argue that the emergence of the category of abstract art in the 1920s is grounded in a voluntaristic impulse to remake the world. I argue that the consolidation of abstract art as a movement emerged out of the Parisian reception of a new Soviet art practice that contained a political impetus that was subsequently obscured as this moment passed. The occultation of this historical context laid the groundwork for the postwar “multiplication” of the meanings of abstraction, and the later tendency to associate its early programmatic aspirations with a more apolitical mysticism. Abstraction has a long and varied history as both a conceptual-aesthetic practice and as an ideal. -
Art Nouveau Is Also Refered to As
Art Nouveau Is Also Refered To As Harlin disembarrass cringingly. Quintus remains antonymous after Quincy bastardised conjunctly or overran any Rheydt. Matchable and subsiding Renato fluctuates her flickertail wagon nutritiously or shingles perennially, is Warren tendencious? This allowed the artist to think refund of penalty box of easel paintings and sculpture and of branch out two different areas. What an an Eames Chair? Aside from curving lines and shapes inspired by natural forms, the entrepreneur of courtesy and wrought iron brings sculptural elements to Art Nouveau structures. In Austria, it became bishop as Sezessionstil, named after the Viennese Secession movement, instigated by artists at release time. The Art Nouveau movement took inspiration from struggle to produce innovative, modern designs. Delft some of beauty and associated with simplicity, email address below. What an allegorical figures, other directions to mention some art nouveau tour to art nouveau is also refered to as for convenience only spread to show their height by artspace is dotted with everything. Even mythical dolphins, also helps if art art nouveau is also refered to as one hundred years are sure you may cause inaccuracies to? Since Art Nouveau became popular in various countries in Europe, the movement gained different regional and darkness even local names. Gaudà is third important in Catalonia. Fun Side is History! You suddenly responsible because any User Content you reply to heavy site. Modern art deco interior design should be filled with designs featuring laurels of leaves, branches, feathers along stylized animal elements whether another bird sculpture or a Chinoiserie fish. Some melt the major materials used in this style include glass, aluminum, wrought iron, wood steel. -
The Hennebique Archives: Toward a New Corpus for Contemporary Architectural History
214 American Archivist / Vol. 59 / Spring 1996 The Users Downloaded from http://meridian.allenpress.com/american-archivist/article-pdf/59/2/214/2748875/aarc_59_2_6r8g575725414x37.pdf by guest on 25 September 2021 The Hennebique Archives: Toward a New Corpus for Contemporary Architectural History GILLES RAGOT Abstract: The voluminous archives of the Hennebique engineering firm, which was a pioneer in reinforced concrete construction, provides an example of processing procedures and priorities for architectural records. The completeness and heterogeneous nature of architectural records greatly influence processing time. It is necessary to balance the needs of both historians and archivists when processing records, and it is also necessary to preserve the records not just of significant buildings or architects, but of the ordinary architects, and the non-architects who influenced architectural works, in order to develop a fuller picture of the development of the landscapes in which we live. About the author: Gilles Ragot holds a doctorate in Art History from the Universite de Paris IV Sorbonne. Working at the Institut Francais d'architecture from 1984 to 1994, he was instrumental in the creation of the Centre d'archives d 'architecture du 20e siecle in Paris, for which he was curator from 1988 to 1994. He is currently a professor at the School of Architecture and Landscape Architecture at the Universite de Bordeaux where he organized the Centre d'archives d'architecture et de paysage in Aquitaine (France). The author would like to acknowledge the kind assistance of Gwenael Delhumeau in the preparation of this paper. The Hennebique Archives 215 The Centre d'Archives d'Architecture du Vingtieme Siecle THE ARCHIVES OF THE Hennebique engineering firm, a pioneer in reinforced concrete construction, was deposited with the Centre d'archives d'architecture du vingtieme siecle of the Institut Frangais d'Architecture (IFA) in 1989, the year the archives center opened. -
Kolokytha, Chara (2016) Formalism and Ideology in 20Th Century Art: Cahiers D’Art, Magazine, Gallery, and Publishing House (1926-1960)
Citation: Kolokytha, Chara (2016) Formalism and Ideology in 20th century Art: Cahiers d’Art, magazine, gallery, and publishing house (1926-1960). Doctoral thesis, Northumbria University. This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/32310/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html Formalism and Ideology in 20 th century Art: Cahiers d’Art, magazine, gallery, and publishing house (1926-1960) Chara Kolokytha Ph.D School of Arts and Social Sciences Northumbria University 2016 Declaration I declare that the work contained in this thesis has not been submitted for any other award and that it is all my own work. I also confirm that this work fully acknowledges opinions, ideas and contributions from the work of others. Ethical clearance for the research presented in this thesis is not required. -
The Modernism of French Rationalism
25 February 2002 Art History W36456 PLEASE NOTE MIDTERM EXAMINATION DATE: The Midterm will take place in class on Monday 11 March. In addition to section meetings, there will be a review section tba by the section leaders during the week of March 4th. There will be no section meetings the week of March 11th. The exam will consist of slide identifications, slide comparisons, and a single short essay question. It will include all the material covered through Weds. 6th March 2002, most likely through topic 10 on the syllabus. Frank Lloyd Wright -- Hillside Home School, Spring Green, Wisconsin 1901-03 -- Larkin Company Administration Building, Buffalo 1902-06 (demolished 1950) -- Unity Temple, Oak Park, Illinois 1905-08 The modernization of French Rationalism: Aguuste Perret and Tony Garnier For background on reinforced concrete please see S. Giedion, Space, Time & Architecture (pp. 244ff in the 1944 ed.) See also Frampton, Modern Architecture, part one, chapter 3. François Hennebique (1842-1921) Hennebique system 1892 -- Charles VI Spinning Mill, Tourcoing (France) 1895 -- Apartment Building, rue Danton (Place St. Michel), Paris, 1900 -- Villa at Bourg-la-Reine, near Paris, 1904 -- Torpedo Station at Hyères 1908 Anatole de Baudot (disciple of Viollet-le-Duc) and his use of the Contamin system in the church of St. Jean, Montmartre (Paris) 1894-1897. Auguste Perret (1874-1954) -- Apartment Building, 119 ave de Wagram, Paris, 1902 -- Apartment Building at 25bis rue Franklin, Paris 1903 -- Garage, rue Ponthieu, Paris (demolished) 1905 -- Théâtre -
Henry Van De Velde Year in Germany and Belgium: Part One
Jane Van Nimmen Henry van de Velde Year in Germany and Belgium: Part One Nineteenth-Century Art Worldwide 12, no. 2 (Autumn 2013) Citation: Jane Van Nimmen, “Henry van de Velde Year in Germany and Belgium: Part One,” Nineteenth-Century Art Worldwide 12, no. 2 (Autumn 2013), http://www.19thc- artworldwide.org/autumn13/van-nimmen-on-henry-van-de-velde-year-in-germany-and- belgium-part-one. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Nimmen: Henry van de Velde Year in Germany and Belgium: Part One Nineteenth-Century Art Worldwide 12, no. 2 (Autumn 2013) Henry van de Velde Year in Germany and Belgium: Part One Honoring the 150th birthday of painter, architect, and designer Henry van de Velde, Google posted a celebratory doodle on April 3, 2013. It was not a global doodle like the glitzy Kiss commemorating Gustav Klimt, displayed around the world in 2012. The pastel tribute to van de Velde could be seen in only a handful of continental markets: Belgium, where he was born in 1863; France, where in 1884 the young painter studied for a few months in Paris with Carolus- Duran and where in 1895 he created three sensational rooms for Siegfried Bing’s new gallery L’Art Nouveau; Austria, where he showed furniture at the Eighth Vienna Secession exhibition in late 1900; Germany, where he lived with his wife and growing family from 1900 until 1917; the Netherlands, where he settled in the 1920s; and Switzerland, where he died in 1957. -
Art Pour Tous
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Archive Ouverte en Sciences de l'Information et de la Communication 1 Rossella Froissart JE CEMERRA 2422 - Université de Provence Aix-Marseille I Catherine Méneux Historienne de l’art Des « arts décoratifs » à un « art social » sous la direction de l’architecte A la fin de 1896 trois sculpteurs (Alexandre Charpentier, Jean Dampt, Henry Nocq), un architecte (Charles Plumet) et un peintre (Félix Aubert) forment un petit groupe qui se nomme « Les Cinq » pour exposer du mobilier, de la céramique, des tentures, des tapis et des bijoux à la Galerie des Artistes Modernes, à Paris. Cette démarche collective est assez rare dans le milieu des créateurs parisiens de la fin du XIXe siècle pour être remarquée par la presse spécialisée et pour bénéficier d’un accueil d’emblée positif. Plusieurs voix mettent en doute en effet les bienfaits de l’attitude individualiste des artistes français, que l’on rend responsable d’un étalage aux Salons annuels d’objets d’art aussi précieux qu’inutiles, ainsi que de l’incapacité à transformer profondément et dans son ensemble l’espace et le décor intérieurs. Les « Cinq » tentent de répondre à cette nouvelle exigence en proposant à une clientèle éventuelle des pièces aménagées par les divers membres du groupe, chacun exerçant ses capacités dans le domaine qui lui convient1. Cette première des six expositions organisées à la Galerie des Artistes Modernes est remarquée par Roger Marx ; elle l’incite à se poser quelques-unes des questions qui, apparues dès les années 1894-1895, vont, lentement mais sûrement, remettre en cause au moins en partie le système que le critique s’est forgé afin d’accompagner et stimuler le renouveau des arts décoratifs en France2. -
Le Corbusier and the Salon D´Automne of Paris. Architecture And
avant-gardes, succeeding and mixing phases, plans, he met Charles Plumet, Pierre Paquet, Le Corbusier and the genres, currents and contexts1. Throughout Henri-Léon Baudouin, Henri Sauvage, the century, it exhibited Brancusi, Braque, Eugène Grasset and, in particular, Frantz Salon d´Automne of Chagal, De Chirico, Delaunay, Derain, Van Jourdain, architect and art critic, president Paris. Architecture Dongen, Duchamp, Kandinsky, Léger, Matisse, of the Salon. All of them were his art and Ozenfant, Picabia, Picasso, Rodin, Raoul Dufy, architecture referents. At their request, he and representation Utrillo and a long etcetera of other artists. The visited the main exhibitions of the moment: José Ramón Alonso Pereira enumeration reveals the internationality of the Salon Beaux Arts, open from April to July, the Salon, whose artists made Paris the capital the Automobile and Bicycle Exhibition and of art. In 1914 the Salon was consolidated the Salon d’Automne, both of them held that and unanimously recognized (CORET autumn at the Grand Palais, where, in 1909, 2003). Despite a very clear modernity he visited the first Aeronautics Exhibition tendency during its early years, the Salon and in November, before leaving Paris, the always sought a dialogue between modern new Salon d’Automne of that season. During and ancient, far from the dogmatic excesses his training years at La Chaux de Fonds, of some avant-gardes. The Salon´s basic L’Eplattenier had restrained his pictorial originality led in the fact that it was a house vocation, directing him towards architecture. Introduction to all artistic manifestations, bringing together However, Le Corbusier continued painting all sorts of artists: painters and sculptors, watercolours and making drawings in form The Salon d’Automne in Paris was the locus glassmakers and ceramists, decorators and of sketches, studies and travel impressions. -
The Bigot Pavilion in the Collection of the Museum of Applied Arts Budapest
Arlene Peukert Hidden treasures rediscovered – Iparművészeti Múzeum, Budapest the Bigot Pavilion in the collection of the Museum of Applied Arts Budapest Hidden away for more than a century in the storage of the Museum of Applied Arts Budapest, the monumental ensemble of architectural ceramics known as the Bigot Pavilion can now be admired and studied for the first time since its glorious presentation at the Paris Exposition Universelle of 1900.1 The exhibition “The Bigot Pavilion – Art Nouveau Architectu- ral Ceramics from Paris” is on view from 26 April 2013 until 4 January 2015 (fig. 1). The architectural ceramic sample pieces of the pavilion were produced by the Alexandre Bigot & Company Factory. The pavilion was acquired by the director of the Museum of Fig. 1. View of the exhibition, The Bigot Pavilion – Art Nouveau Architec- Applied Arts Jenő Radisics (1856–1917) for 5.500 francs di- tural Ceramics from Paris; Museum of Applied Arts Budapest © Gel- lért Áment rectly after the World’s Fair in October 1900.2 In a letter to the Hungarian Minister of Religion and Education from the 25th of October 1900 Radisics wrote: “On the amount of credit at Alexandre Bigot (1862–1927) who was a trained phy- my disposal I have purchased 109 pieces for the museum. sics and chemistry instructor developed an interest in ceramics Special significance should be given to the monumental in- when seeing an exhibition of Chinese and Far Eastern porcela- stallation of Bigot, which was among the most well known in in Paris in 1889.4 Because of his knowledge in chemistry Bi- and most artistic ceramic work of art at the Paris Exhibition, got was able to experiment with different glazing techniques.