Art Deco is a direction of eclectic art, formed in France in the early 20s of the 20th century. Dominated in fashion design, architecture, applied arts, interior design. In the 30s and 40s, art deco became popular all over the world.

Story

The direction appeared at the beginning of the 20th century - in the period 1907 - 1915. At this time, the first works marked by the characteristic features of the style are fixed. Some researchers note that the works of this time are the first attempts of artists to create canvases in an eclectic style.

The term appeared after the International Exhibition in Paris in 1925. The exhibition featured luxury items. The purpose of the exposition is to show the leading place of Paris in the world of fashion and style. Until 1928, the direction was the property of only Europe, in the early 30s, an American version of art deco appeared, which had its own characteristics.

The history of the Gothic style in painting

Characteristic

Art Deco is an art that reflects modern technology, characterized by smooth lines, the creation of images from geometric shapes, the use of bright, flashy colors in the interior and fine arts. The direction arose as a reaction against the austerity introduced during the First World War. The works were filled with luxury, brightness, excesses, expensive materials were used in the interior and other types of creativity (silver, crystal, ivory, jade). After the Great Depression, the direction developed, but began to concentrate on the production of less expensive products with a focus on mass production. Used chrome, plastic, metal and other industrial materials for the middle class. Art Deco has always been associated with glamour, brilliance, but functionality and practicality are inherent in it.

From the late 40s, art deco began to be perceived as too colorful, pretentious for wartime and austerity, so it gradually went out of fashion. A surge of interest in art deco occurred in the 1960s - it coincides with the pop art movement. Another stage of development is the 80s, when interest in graphic design increased. The direction has become fashionable in design, clothing.

Features of hyperrealism as a style in painting

Characterized with a steady interest in the aesthetics of the 20s of the 20th century, it is perceived exclusively in connection with the fashion and trends of this period. The peculiarity of the style is that the representatives were not united in a single community, group or school of painting. Art Deco is an eclectic movement in which a large number of cultural influences have been mixed.

Ideas

The key ideas and principles of work were adopted by the artists from modernists and neoclassicals.

• Neoclassical ideals of beauty with their inherent severity were inherent in the works of the masters of the new direction.
• The use of bright, intense shades, according to researchers, stems from the work of the Parisian Fauvists.
• Some ideas are borrowed from the art of the Aztecs and Egyptian culture, classical antiquity.
• Unlike Art Nouveau, Art Deco did not have a philosophical basis - it was a purely decorative direction.
• Ethnic ornamental compositions in the paintings of artists, in the interior;
• "Russian Seasons" or Russian ballet S. Diaghilev.

Surrealism as a style in painting

The development of style in difficult economic and political conditions, during the period of active development of science and technology, was reflected in the subject matter of the paintings. The works of artists serve decorative purposes, please the eye, and cheer up. Painters do not attempt to exert psychological influence or convey their philosophical views through paintings. The goal of Art Deco is to combine the best features of styles, creating something new and beautiful.

The main features of the style

Minimalism as a style in painting

Using new materials that were used in combination, Art Deco introduced scientific progress, the growth of technology. The luxurious appearance of the art deco painting will perfectly fit into the interior of a rich apartment, a cruise ship, a modern cinema. The style has survived several crises, thanks to practicality, simplicity, brightness and individuality.

Painters

The term art deco is rarely applied to painting or sculpture, it dominates in architecture and design, but in the interwar period a number of artists presented their works, made to all standards of style: Tamara Gorskaya or Tamara de Lempicka, painting "Musician" (1929), "Self-portrait in the Green Bugatti (1925), French poster artist Adolphe Jean-Marie Mouron, known as Cassander, was one of the best graphic artists, won the Grand Prix at a poster competition in Paris.

Art Deco, Art Nouveau, Art Nouveau - style features, examples - paintings, stained glass windows, interiors

In this article we will look at the style of the interior art deco, Art Nouveau, modern. Style elements - painting, architecture, interior space elements - furniture, curtains, chandeliers, paintings, etc.

Building of the Vienna Secession

Art Nouveau [art nouveau, " tiffany"(named after Louis Comfort Tiffany) in the United States," Art Nouveau" and " fin de siecle" in France, " Art Nouveau" in Germany, " Secession style" in Austria, " modern style" in England, " Liberty style» in Italy, « modernismo" in Spain, " Nieuwe Kunst" in Holland, " spruce style" (style sapin) in Switzerland.) became widespread in 1918-1939 in France, partly in other European countries and the USA. Winding lines, an unusual combination of expensive and exotic materials, images of fantastic creatures, waveforms, shells, dragons and peacocks, swan necks and languid women predominate in architectural forms and paintings. In forms - underlined asymmetry. Leaves, flowers, trunks and stems, as well as the contours of the human or animal body with their inherent asymmetry, are a guide to action and a source of inspiration. The style is based on the thesis that the form in art is more important than the content. Any most prosaic content can be presented in a highly artistic form. The source of this "new form" was nature and woman. This style is characterized by sophistication, sophistication, spirituality, variability. A certain set of colors followed from this - faded, muted; the predominance of smooth, complex lines. A set of symbols - whimsical flowers, sea rarities, waves. The stylistic properties of Art Nouveau are sometimes compared with the plastic system of the Baroque, rightly seeing some similarity between them in the desire of artists to use forms of organic nature as means of expression. A lot of Art Nouveau also took from the art of the camp of Asia.

It is always good in such interiors, as well as in Art Deco interiors, copies of Michael Parkes, Gustav Klimt, Tamara Lempicki, Alfons Mucha, Vrubel, Bilibin or Vasnetsov look good, as well as the work of contemporary artists writing in this style, as well as American graphics a certain topic. Many artists of this style (or period) were fascinated by oriental painting - in the paintings of the same Gustav Klimt, we often see characters in Chinese or Japanese clothes. Therefore, in such interiors, Chinese or Japanese painting will not be superfluous. Here are a few works, in our opinion, suitable for interiors in such styles.

Art Deco (Art Deco)- a popular trend in the international decorative arts of 1925-1939. This style historically follows immediately after modernity. He touched upon such areas of art as architecture, interior design, industrial design, fashion industry, painting, graphics, cinema. This movement, to a certain extent, combined many different styles and currents of the early 20th century, including neoclassicism, constructivism, cubism, modernism, Bauhaus, Art Nouveau and futurism. But to a greater extent it is modern with an admixture of neoclassicism. Distinctive features - strict regularity, ethnic geometric patterns, luxury, chic, expensive, modern materials (ivory, crocodile skin or shark or zebra skin, rare woods, silver). In Germany and the USSR, Art Deco is turning from Art Nouveau into a “new Empire style”.

The peak of the movement's popularity fell on the "roaring twenties", but in the 1930s it was quite strong in the United States. Unlike other areas, the origin of which is rooted in politics or philosophy, art deco carried an exclusively decorative meaning. At one time, the style was perceived as a reaction to the Universal Exposition (Universal Exposure) of 1900. After a famous exhibition, several French artists created the officially registered organization La Société des artistes décorateurs (Society of Decorative Architects). Among its founders were Hector Guimard (Hector Guimard).

Paris in the 30s of the 19th century remained the center of the Art Deco style. He embodied it in furniture Jacques-Emile Ruhlmann- the most famous of the furniture designers of the era and perhaps the last of the classic Parisian ebeniste(cabinet makers). In addition, the works of Jean-Jacques Rateau, the products of the Süe et Mare company, the screens of Eileen Gray (Eileen Gray), the work of forged metal by Edgar Brandt, the metal and enamel of the Swiss of Jewish origin Jean Dunant, the glass of the great René Lalique and Maurice Marino, are characteristic, and Cartier watches and jewelry.

Bronze and ivory sculpture has become a symbol of Art Deco in decorative and applied arts. Inspired in part by Diaghilev's Russian Seasons, the art of Egypt and the Orient, and the technological advances of the "Machine Age", French and German masters created a unique style in small plastic art of the 1920s and 1930s that raised the status of decorative sculpture to the level of " high art." Dmitry Chiparus, Claire Jean Robert Colin, Paul Philippe (France), Ferdinand Preiss, Otto Poerzel (Germany), Bruno Zach, J. Lorenzl (Austria) are considered classic representatives of Art Deco in sculpture.

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Art Nouveau(French pronunciation: ​, anglicised to /ˈɑːrt nuːˈvoʊ/) is an international style of art, architecture, and decorative arts, especially decorative arts, that was most popular between 1890 and 1910. Representing a reaction to 19th-century academic art, the style was inspired by natural forms and structures, in particular the curved lines of plants and flowers.

In English, the French name "Art Nouveau" (new art) is used. This style is related, but not identical, to styles that emerged in many European countries around the same time: in Austria, it is known as "Secession style" after the "Viennese Secession"; in Spain as "modernismo"; in Catalonia as "modernism"; in the Czech Republic as "secese"; in Denmark as "skönvirke" or Art Nouveau; in Germany as Art Nouveau, "Art Nouveau" or "reform style"; in Hungary as "secessio"; in Italy as "Art Nouveau", "liberty style" or "florale style"; in Norway as Art Nouveau; in Poland as "secession"; in Slovakia as "seces"; in Russia as "modern"; how about in Sweden "jugend".

Art Nouveau is a general art style. It covers a wide range of fine and decorative arts including architecture, painting, graphics, interior design, jewelry, furniture, textiles, ceramics, glass and metalwork.

By 1910, Art Nouveau was already out of fashion. As the dominant architectural and decorative style of Europe, it was first replaced by Art Deco and then Modernism.

Origin

The new art movement has its roots in Britain, in the floral designs of William Morris and in the Arts and Crafts movement founded by Morris' students. Early examples of this style include Morris's Red House (1859) and James Abbot McNeil Whistler's Peacock Room. The new movement was also heavily influenced by Pre-Raphaelite artists including, Dante Gabriel Rossetti and Edward Burne-Jones and especially the British graphic artists of the 1880s, among them Selwyn Images, Haywood Sumner, Walter Crane, Alfred Gilbert, and most notably Aubrey Beardsley.

In France, the style combined several different trends. In architecture, he was influenced by the architectural theorist and historian Eugène Viollet-le-Duc, a sworn enemy of the historic Beaux Arts architectural style. In his book "Entretiens sur l "architecture" In 1872, he wrote: “Use the means and knowledge given to us by our time, without intermediate traditions that are not viable today, and in this way we can discover a new architecture. Each function has its own material; each material has its own form and ornament. This book influenced a generation of architects, including Louis Sullivan, Victor Horta, Hector Guimard and Antoni Gaudí.

French painters Maurice Denis , Pierre Bonnard and Edouard Vuillard played an important role in combining the fine arts of painting with the decorative. “I believe that, above all, painting should decorate,” Denis wrote in 1891. “The choice of plots or scenes is nothing. It is through the balance of tones, the painted surface and the harmony of the lines that I can reach the soul and awaken the emotions.” All these artists created both traditional and decorative painting on screens, glass and other materials.

Another important influence on the new style was Japaneseism: a wave of interest in Japanese woodcuts, especially the work of Hiroshige, Hokusai, and Utagawa Kunisada, which were imported into Europe starting in the 1870s. The enterprising Siegfried Bing founded the monthly magazine Le Japon artistique in 1888 and published thirty-six issues before closing in 1891. He influenced both collectors and artists, including Gustav Klimt. Stylized features of Japanese prints appeared in graphics, porcelain, jewelry and Art Nouveau furniture.

New technologies in printing and publishing allowed Art Nouveau to quickly reach a global audience. Art magazines, illustrated with photographs and color lithographs, were instrumental in popularizing the new style. The Studio in England, Arts et idèes and Art et décoration in France, Jugend in Germany allowed the style to quickly spread to all corners of Europe. Aubrey Beardsley in England and Eugene Grasset, Henri de Toulouse-Lautrec and Felix Vallotton received international recognition as illustrators.

Thanks to the posters Jules Cheret for dancer Loie Fuller in 1893 and Alphonse Mucha for the actress Sarah Bernhardt in 1895, the poster became not just an advertisement but an art form. Toulouse-Lautrec and other artists have achieved international celebrity status.

Form and character

Although Art Nouveau took on distinctly localized tendencies as its geographical distribution increased, some general characteristics point to its form. A description published in Pan magazine of the wall tapestry Cyclamen (1894) by Hermann Obrist, describing it as "unexpected strong curves formed by the blow of a whip", which became famous at the beginning of the spread of Art Nouveau. Subsequently, not only did the work itself become better known as "The Whiplash", but the term "whiplash" itself is often applied to the characteristic curves used by Art Nouveau artists. Such decorative "whiplash" motifs, formed by dynamic, undulating, and flowing lines in syncopated rhythm and asymmetrical form, are found throughout architecture, painting, sculpture, and other forms of Art Nouveau design.

The origins of Art Nouveau are in the struggle of the artist William Morris with the bulky compositions and trends of the 19th century revival and its theories that helped create the Arts and Crafts movement. However, Arthur Maccurdo's cover for The City Churches of Wren (1883), with its rhythmic floral designs, is often considered the first implementation of Art Nouveau. Around the same time, the flat perspective and bright colors of Japanese woodcuts, especially Katsushiki Hokusai, had a strong influence on the Art Nouveau style formula. Japonism, popular in Europe in the 1880s and 1890s, had a significant impact on many artists with its organic forms and appeal to the natural world. As well as being adopted by Japanese-inspired art and design by artists such as Emile Galle and James Abbott McNeil Whistler, they were also supported by businessmen Siegfried Bean and Arthur Lasenby Liberty in their stores in Paris and London, respectively.

In architecture, hyperbolas and parabolas are widespread in windows, arches and doors, and decorative breaks are transformed into plant forms. Like most design styles, Art Nouveau sought to harmonize its forms. The text above the entrance to the Paris Metro uses the features of the rest of the metal structure.

Art Nouveau architecture and interior design eschews the eclectic resurgent styles of the 19th century. Although Art Nouveau designers chose and "modernized" some of the more abstract elements of the Rococo style, such as the textures of flames and shells, they also advocated the use of highly stylized organic forms as a source of inspiration, expanding the "natural" variety to the use of seaweeds, herbs, and insects. Another influence was the soft-blended forms of the 17th century knorpelwerk, best represented in Dutch silver.

Relationship with contemporary styles and movements

As an art style, Art Nouveau has affinities with the Pre-Raphaelites and Symbolism, and artists such as Aubrey Beardsley, Alphonse Mucha, Edward Burne-Jones, Gustav Klimt and Jan Torop, can be attributed to more than one of these styles. However, unlike symbolic painting, the Art Nouveau style has a distinctive appearance; and, in contrast to the artisan-oriented Arts and Crafts movement, Art Nouveau artists readily embraced new materials, finished surfaces, and abstraction for the sake of pure design.

Art Nouveau did not abandon the use of machines, as did the Arts and Crafts movement. For sculpture, the main materials used were glass and wrought iron, leading to sculptural features even in architecture. Ceramics was also involved in the series of sculptures by artists such as Auguste Rodin.

Art Nouveau architecture made use of many of the technological innovations of the late 19th century, especially exposed iron and large, custom glass pieces. However, by the start of World War I, the stylized nature of Art Nouveau design, which was expensive to produce, fell into disuse in favor of a more streamlined, straightforward modernism that was cheaper and more suited to the simple industrial aesthetic that Art Deco had become.

style trends Art Nouveau also infiltrated local styles. For example, in Denmark, this trend has been one aspect of skönvirke ("aesthetic work"), which itself is more closely associated with the Arts and Crafts style. In addition, artists borrowed many of the floral and organic motifs from Art Nouveau into the Młoda Polska ("Young Poland") style in Poland. However, Młoda Polska also included other artistic styles and embraced a broader trend in art, literature and lifestyle.

Museums section publications

Art Deco for Dummies

Where and how the Art Deco style arose, who founded it, whether it was in the young Soviet Union - we understand the intricacies of style together with Sofia Bagdasarova.

What is Art Deco?

Sheet from the album Feuillets d "Art. 1919

Sheet from the album Les choses de Paul Poiret vues par Georges Lepape. 1911

Sheet from the album Modes et Manières d "Aujourd" hui. 1914

Art Deco, which means “decorative art” in French, is the name of the artistic style that reigned in Europe and America after Art Nouveau, between the two world wars. Moreover, he reigned mainly in industrial design - fashion, jewelry, posters, facades, interiors, furniture. This happened while the “great art” of that era was experimenting with expressionism, abstractionism, constructivism and other isms, which, of course, are brilliant, only not everyone can see them all the time in their apartment. And Art Deco items are designed specifically for everyday life - very rich, luxurious and imposing, but still everyday.

How to recognize an Art Deco item?

Cigarette cases, powder boxes. 1930s Kyoto Fashion Institute

Cover of Vogue magazine with an "optical" dress from S. Delaunay. 1925. Press Service of the Kremlin Museums

Handbags. OK. 1910. Kyoto Fashion Institute

This thing is sure to be beautiful - stylish, elegant. It is made of material with an expensive texture, but not flashy luxury, but simply valuable. Colors will be complex shades, black - a lot. Often the author clearly used a ruler - but at the same time he managed to round all the corners very elegantly. Geometric patterns are built according to careful proportions and can hypnotize. There are also often interspersed with something ancient Egyptian or Japanese, but in some strange design: Art Deco loved to reinterpret exotic cultures. (By the way, "Russian exoticism" was also appreciated.) Style and technical progress liked it - that's why there are stylized trains flying at high speed, and propellers of airplanes and steamships.

Style in fashion

Evening Dress. Fashion designer Madeleine Vionnet. 1927. Press Service of the Kremlin Museums

Evening Dress. Lanwen Fashion House. Around 1925. Press service of the Kremlin Museums

Dress. France. Winter 1922. Fashion house "Sisters Kallo"

Art Deco is most noticeable in women's fashion. In the era when this style reigned, women began to cut their hair short, finally freed themselves from tight corsets and crinolines, the waist slipped to the hips, then pulled up to the very chest, and the skirt was shortened to a height that was completely indecent, according to those who remembered Victorian morality.

The creators of the style - the great fashion designers Paul Poiret, Mariano Fortuny - quoted kimonos, Arab turbans and bloomers, antique chitons and tables, medieval raincoats. One-piece things appeared, draperies were everywhere, heavy fabrics, chic and shine. In such free things, embroidered with iridescent pearls, glass beads, rhinestones, beads, it was great to dance new lively dances - foxtrot, Charleston, tango. In general, remember the era of "The Great Gatsby".

Style in jewelry

Van Cleef and Arpels brooch. 1930

Van Cleef and Arpels collar necklace. 1929

Van Cleef and Arpels Egyptian style brooch. 1924

The firms Cartier and Van Cleef & Arpels, as well as other jewelry houses, purposefully worked on the principles of Art Deco in their work. After the fluid forms and poetic flowers of the Art Nouveau era (aka Art Nouveau), their jewelry seemed flashy and shocking.

Light platinum for settings allowed jewelry to abandon the "heavy armor" - gold. Pure geometric shapes, abstract patterns, an innovative combination of green and blue, a contrasting selection of stones, such as black onyx and red ruby, the use of carved rather than faceted stones, as well as interspersed with genuine ancient artifacts (Egyptian scarabs, etc.) - these are recognizable traits. Black onyx generally became a favorite stone of this period, especially when combined with diamonds. They were accompanied by bright chords of corals, lapis lazuli, jade, enamel.

Was there art deco in Russia?

High-rise building on Kotelnicheskaya embankment. State Research Museum of Architecture named after A.V. Shchusev: website/institutes/7985

Mayakovskaya metro station

USSR Pavilion at the International Exhibition in Paris. 1937. State Research Museum of Architecture named after A.V. Shchusev: website/institutes/7985

The brilliant Art Deco style is, of course, deeply "bourgeois". This is a symbol of the lost generation, the fashion of the characters of Fitzgerald, Hemingway (as well as Wodehouse and pre-war books by Agatha Christie). The young Soviet state in that era was not up to this outward brilliance. However, they had the "roaring twenties", and we have the New Economic Policy. Remember Ellochka the Cannibal: “…the sparkling photograph depicted the daughter of the American billionaire Vanderbilt in an evening dress. There were furs and feathers, silk and pearls, lightness of cut, an unusual and breathtaking hairstyle. Soviet Nepmen in their habits, of course, imitated their free western neighbor, although this was not officially approved.

On the other hand, the Art Deco imprint is visible in one of the most formal arts - architecture. The influence of the imported style is easy to find in Stalinist classicism: photographs of fragments of Moscow skyscrapers from some angles are difficult to distinguish from views of pre-war Manhattan skyscrapers. Art Deco's love for geometrism, the use of abstractions - all this was easily absorbed by Russian masters in the homeland of Suprematism. It was also appropriate to glorify the technical achievements of mankind. There are even more amusing signs - remember, we talked about the turn of Art Deco to Egyptian motifs? It is thanks to him before Tamara Lempicka. Self-portrait in a green bugatti. 1929. Private collection

But the contribution that Russian emigrants made to the development of Art Deco is much more significant. For years, fashion magazines Vogue and Harper's Bazaar have been published under covers drawn by Erte, whose real name is Roman Petrovich Tyrtov. His "Symphony in Black" is one of the key works of style.

The abstract artist Sonia Delaunay, who worked in the fashion industry, enriched Art Deco with color and energy, which we have seen in other "avant-garde Amazons". The main art deco portrait painter, one of the few artists who managed to use this style for easel paintings, is Tamara Lempicka, a native of the Russian kingdom of Poland, who lived in St. Petersburg before the revolution. (But the main sculptor of the era, Dmitry Chiparus, despite such a familiar name to us, is a Romanian.) Finally, Leon Bakst, being in exile, in addition to the theater, managed to work in the fashion industry - obviously in the Art Deco style.

Art historians generally write that the Art Deco style was originally inspired by the Russian Seasons, which rocked the Parisian art world in the 1900s. So - thanks to Diaghilev and for art deco!

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Art Deco (decorative art) is an influential trend in the fine and decorative arts of the first half of the 20th century, which first appeared in France in the 1920s, and then became popular in the 1930s and 1940s on an international scale, manifested mainly in architecture, fashion and painting. This is an eclectic style, which is a synthesis of modernism and neoclassicism. The art deco style was also significantly influenced by such artistic movements as cubism, constructivism and futurism.

Distinctive features - strict regularity, bold geometric shapes, ethnic geometric patterns, decoration in halftones, lack of bright colors in the design, while colorful ornaments, luxury, chic, expensive, modern materials (ivory, crocodile skin, aluminum, rare woods, silver).

• Forms: streamlined, yet clear and graphic. Silhouettes have more stepped forms, the main thing is grace and some playfulness.
• Lines: energetic, clear, geometric.
• Elements: many ornaments in the form of curls, spirals, waves, zigzags.
• Colours: contrast. Weaving soft and pastel with flashy and juicy.
• Materials: expensive, exotic, saturated. Wood, leather, bronze, marble, ceramics, glass.
• Windows: Rectangular, using a large space of glass. Less often arched or with stained glass.
• Doors: surrounded by pilasters, gables.

In the USA, the Netherlands, France and some other countries, Art Deco gradually evolved towards functionalism.

Story

The international exhibition, held in 1925 in Paris and officially called "Exposition Internationale des Arts Décoratifs et Industriels Modernes", gave life to the term "Art Deco". This exhibition showed the world French-made luxury goods, proving that Paris remained an international center of style after the First World War.

International Exhibition of Contemporary Decorative and Industrial Art

The event that marked and named the style's zenith was the International Exhibition of Modern Decorative and Industrial Arts, held in Paris from April to October in 1925. It was officially organized by the French government and covered an area of ​​55 acres in Paris, running from the Grand Palais on the right bank to the Invalides on the left bank and along the banks of the Seine. The Grand Palais, the largest hall in the city, was filled with decorative arts from the participating countries. There were 15,000 exhibitors from twenty different countries including England, Italy, Spain, Poland, Czechoslovakia, Belgium, Japan and the new Soviet Union; Germany was not invited due to post-war tensions, and the United States, not understanding the purpose of the exhibition, withdrew. Sixteen million people visited the exhibition in seven months. Exhibition rules required that all work be contemporary; historical styles were not allowed. The main purpose of the exhibition was to promote French manufacturers of luxury furniture, porcelain, glass, metal products, textiles and other decorative products. To further promote products, all major Parisian department stores and major designers had their own pavilions. The exposition had a secondary purpose in promoting products from the French colonies in Africa and Asia, including ivory and exotic woods.

The Hôtel du Riche Collectionneur was a popular attraction at the show; it featured new design projects by Emile-Jacques Ruhlmann, as well as Art Deco fabrics, carpets and paintings by Jean Dupas. The interior design was based on the same principles of symmetry and geometric shapes that distinguished it from Art Nouveau and bright colors, the exquisite craftsmanship of rare and expensive materials that distinguished it from the austere functionality of the Modernist style. While most of the pavilions were richly decorated and filled with sumptuous handcrafted furniture, two pavilions, the Soviet Union and the pavilion du Nouveau Esprit, built by a magazine of that name under the direction of Le Corbusier, were built in an austere style, with plain white walls and no decoration; they were among the earliest examples of modernist architecture

The Exhibition of Decorative Arts, demonstrating the victory of constructivism, simultaneously gave life to the Art Deco movement, which became an exotic mixture of cubism and modern style, in other words, linear stylization and exquisite ornamentation. The fashion for turbans and deeds stylized as "Egypt" and "China" fancifully mixed with the rhythms of geometric planimetry.

The Art Deco trend itself existed even before the opening of the exhibition in 1925 - it was a noticeable trend in European art of the 1920s. It did not reach American shores until 1928, where in the 1930s it evolved into the Streamline Moderne, an Americanized offshoot of Art Deco that became the hallmark of that decade.

The symbol of Art Deco in decorative and applied arts was a sculpture made of bronze and ivory. Inspired by Diaghilev's Russian Seasons, the art of Egypt and the East, as well as the technological achievements of the "machine age", French and German masters created a unique style in small plastic of the 1920s - 1930s, which raised the status of decorative sculpture to the level of "high arts." Dmitry Chiparus, Claire Jean Robert Colin, Paul Philippe (France), Ferdinand Preiss, Otto Poertzel (Germany), Bruno Zack, J. Lorenzl (Austria) are considered classic representatives of Art Deco in sculpture.

The emergence of Art Deco was closely linked to the rise in status of decorative artists, who until the end of the 19th century were considered mere artisans. The term "decorative scenery" was coined in 1875, for designers of furniture, textiles and other decorations. In 1901, the Commonwealth of Decorators (Society of Decorative Artists) or SAD was created, and decorative artists were granted the same copyrights as painters and sculptors. A similar movement developed in Italy. In 1902, the first international exhibition dedicated exclusively to the decorative arts Esposizione international d'Arte took place in Turin.

Several new magazines dedicated to the decorative arts were founded in Paris, including Art and Decoration and L'Art décoratif moderne. The decorative arts sections were presented at the annual Salons of the Sociéte des artistes français and later at the Salon d'automne. French nationalism also played a role in the resurgence of the decorative arts, with French designers feeling disadvantaged by the rise in exports of cheap German furniture. In 1911, the SAD proposed a major new international exposition of decorative arts in 1912. No copies of older styles were allowed; only contemporary work. The exposition was delayed until 1914 and then, because of the war, until 1925, when it gave its name to the entire family of styles known as Deco.

Although the term Art Deco originated in 1925, it was not commonly used until the shift in attitude towards the era in the 1960s. Art Deco masters were not part of a single community. The movement was considered eclectic, influenced by several sources:

• "Viennese Secession" of the early period (Vienna workshops); functional industrial design.
• Primitive art of Africa, Egypt and Indians of Central America.
• Ancient Greek art (Archaic period) is the least naturalistic of all.
• "Russian Seasons" by Sergei Diaghilev in Paris - sketches of costumes and scenery by Léon Bakst.
• Faceted, crystal, faceted forms of cubism and futurism.
• Coloristic palette of Fauvism.
• Strict Forms of Neoclassicism: Boulet and Karl Schinkel.
• Age of Jazz.
• Plant and animal motifs and forms; tropical vegetation; ziggurats; crystals; coloristic black-and-white gamut of piano keys, motive of the Sun.
• Flexible and athletic forms of female athletes, of which there are a lot; sharp corners of short haircuts for representatives of club life - flappers.
• Technological achievements of the "machine age" - such as radio and skyscrapers.

Art Deco masters liked to use materials such as aluminum, stainless steel, enamel, wood inlays, shark and zebra skin. They actively used zigzag and stepped forms, wide and energetic curved lines (in contrast to the soft flowing curves of Art Nouveau), chevron motifs and piano keys. Some of these decorative motifs have become ubiquitous, such as the key pattern found on ladies' shoes, radiators, Radio City lecture halls, and the spire of the Chrysler Building. The interiors of cinemas and ocean liners, such as Ile de France and Normandy, were willingly decorated in this style. Art Deco was luxurious, and it is believed that this luxury is a psychological reaction to the asceticism and restrictions during the years of the First World War.

France

Parisian department stores and fashion designers were instrumental in the rise of Art Déco. Established firms, including handbag maker Louis Vuitton, silver firm Christofle, glass designer René Lalique, and jewelers Louis Cartier and Boucheron, began to design products in more contemporary styles. Since 1900, department stores have hired decorators to work in their design studios. The decoration of the 1912 Salon d'Automne was entrusted to the Printemps department store. In the same year, Printemps created its own workshop called "Primavera". By 1920, Primavera was occupied by over three hundred artists. Styles ranged from updated versions of Louis XIV, Louis XVI and especially Louis Philippe furniture made by Louis Süe and the Primavera workshop to more modern forms from the Au Louvre department store workshop. Other designers, including Emile Jacques Ruhlmann and Paul Folio, refused to use mass production and insisted that every piece be individually handmade. The early art deco style featured luxurious and exotic materials such as ebony, ivory and silk, very bright colors and stylized motifs, especially baskets and bouquets of flowers in all colors, giving a modernist look.

The vibrant colors of Art Deco came from many sources, including Léon Bakst's exotic productions for the Ballets Russes, which caused a sensation in Paris just before World War I. Some of the colors were inspired by the earlier Fauvist movement led by Henri Matisse; others are Orphists such as Sonia Delaunay; others by the movement known as the nabis and the work of the Symbolist painter Odilon Redon, who designed mantelpieces and other decorative objects. Bright colors were a feature of the work of fashion designer Paul Poiret, whose work influenced both design and Art Deco interior design.

Paris remained the center of the Art Deco style. In furniture, he was embodied by Jacques-Émile Ruhlmann, the most famous of the furniture designers of that era and, perhaps, the last of the classic Parisian ébéniste (cabinet makers). In addition, the works of Jean-Jacques Rateau, the products of the Süe et Mare company, the screens of Eileen Gray, the work of forged metal by Edgar Brandt, the metal and enamel of the Swiss of Jewish origin Jean Dunant, the glass of the great René Lalique and Maurice Marino, as well as watches and Cartier jewelry.

In 1925, two different competing schools coexisted in Art Deco: the traditionalists, who founded the Society of Decorative Artists; including furniture designer Emile-Jacques Ruhlmann, Jean Dunard, sculptor Antoine Bourdelle and designer Paul Poiret; they combined modern forms with traditional craftsmanship and expensive materials. On the other hand, the modernists, who increasingly rejected the past and wanted a style based on advances in new technology, simplicity, lack of finish, inexpensive materials, and mass production.

In 1929, the modernists founded their own organization, the French Union of Contemporary Artists. It included architects Pierre Charo, Francis Jourdain, Robert Mallet-Stevens, Corbusier, and in the Soviet Union - Konstantin Melnikov; Irish designer Eileen Gray and French designer Sonia Delaunay, jewelers Jean Fouquet and Jean Pouyforcat. They vehemently attacked the traditional Art Deco style, which they said was only for the wealthy, and insisted that well-constructed buildings should be accessible to all and that the form should function. The beauty of an object or building was whether it was perfectly suited to fulfill its function. Modern industrial methods meant that furniture and buildings could be mass-produced rather than made by hand.

Painting

Not a single section was allocated to the exposition of 1925. Art Deco painting was by definition decorative, meant to beautify a room or piece of architecture, so few artists worked exclusively in the style, but two artists are closely associated with Art Deco. Jean Dupas painted Art Deco frescoes for the Bordeaux pavilion at the 1925 Decorative Arts Exhibition in Paris, and also painted a painting above the fireplace at the Maison de la Collectioneur at the 1925 exhibition, which featured Ruhlmann and other prominent Art designers. deco. His paintings were also in the decor of the French ocean liner Normandie. His work was purely decorative, designed as a background or accompaniment to other decorative elements. Another artist closely associated with the style is Tamara de Lempicka. Born in Poland to an aristocratic family, she emigrated to Paris after the Russian Revolution. There she became a student of the painter Maurice Denis of the movement called "Nabis" and the cubist André Lhote, and adopted many styles from their styles. She painted almost exclusively portraits in a realistic, dynamic and colorful Art Deco style.

Graphic arts

Art Deco style appeared in the early stages of graphic art, in the years shortly before the First World War.

war. He appeared in Paris in posters and costumes by Léon Bakst for the Ballet Russes and in the catalogs of fashion designers Paul Poiret. The illustrations by Georges Barbier and Georges Lepep and images in the fashion magazine La Gazette du bon ton perfectly captured the elegance and sensuality of the style. The appearance changed in the 1920s; emphasized fashions were more casual, sporty and daring, and female models typically smoked cigarettes. In Germany, the most famous poster artist of this period was Ludwig Hohlwein, who created colorful and dramatic posters for music festivals, beer and, late in his career, for the Nazi Party.

During Art Nouveau, posters usually advertised theatrical merchandise or cabarets. In the 1920s, travel posters made for steamship lines and airlines became extremely popular. The style changed markedly in the 1920s with a focus on product advertising. Images became simpler, more precise, more linear, more dynamic, and often placed on a single colored background. In France, there were Art Deco designers Charles Lupo and Paul Colin who became famous for their posters for the American singer and dancer Josephine Baker, Jean Carlou designed posters for Charlie Chaplin films, soaps and theaters; in the late 1930s he emigrated to the United States, where during the World War he designed posters to encourage war production. Designer Charles Gesmar became a famous poster designer for the singer Mistinguett and for Air France. Among the most famous French designers

America. Streamline Moderne

The style direction that developed in parallel with Art Deco and closely adjoined it was "Streamline Moderne" (the name is from the English streamline - "streamline" - a term from the field of aerodynamics). In "streamline modern" the influence of industrial stamping and aerodynamic technologies is felt. As a result, the outlines of aircraft or revolver bullets appeared in the works of this style. When the design of Chrysler's first mass-produced car, the "Chrysler Airflow", proved popular, streamlined shapes were even used for sharpeners, buildings, and refrigerators.

This architectural style seeks sleek forms, maintains long horizontal lines that often contrast with vertical curved surfaces, and willingly introduces elements borrowed from the maritime industry (railings and portholes). Its peak was reached around 1937.

This style was the first to incorporate electric light into an architectural structure.

Wall art

There was no distinct Art Deco style in the United States, although paintings were often used as decoration, especially in government buildings and office buildings. In 1932, the Public Works in Art project was created, which allowed artists to work without work, because the country was in the Great Depression. A year later, the project commissioned more than fifteen thousand works of art. Well-known American artists have been recruited by the Federal Art Project to paint and decorate walls in government buildings, hospitals, airports, schools and universities. Some of America's most famous artists, including Grant Wood, Reginald Marsh, Georgia O'Keeffe, and Maxine Albro took part in the program. Renowned Mexican artist Diego Rivera also took part in the program, decorating the walls. The paintings were in a variety of styles, including regionalism, social realism, and American painting.

Several images were also created for Art Deco skyscrapers, notably Rockefeller Center in

New York. The foyer commissioned two images by John Stewart Curry and Diego Rivera. The building's owners, the Rockefeller family, discovered that Rivera, a communist, had placed an image of Lenin in the crowd in the painting and destroyed it. The painting was replaced by another Spanish artist, José Maria Sert.

Graphic arts

The Art Deco style appeared in the early stages of graphic art, in the years just before the First World War. He appeared in Paris in posters and costumes by Léon Bakst for the Ballet Russes and in the catalogs of fashion designers Paul Poiret. The illustrations by Georges Barbier and Georges Lepep and the images in the fashion magazine La Gazette du bon ton perfectly capture the elegance and sensuality of the style. The appearance changed in the 1920s; emphasized fashions were more casual, sporty and daring, and female models typically smoked cigarettes. American fashion magazines such as Vogue, Vanity Fair and Harper's Bazaar quickly picked up the new style and popularized it in the United States. It also influenced the work of American book illustrators such as Rockwell Kent.

In the 1930s, a new genre of posters emerged in the United States during the Great Depression. The art project of the Federal Agency hired American artists to create posters to promote tourism and cultural events.

Style fade

Art Deco quietly disappeared after the rise of mass production, when it was treated as flashy, gaudy and fakely luxurious. The final end to this style was put by the hardships of the Second World War. In colonial countries such as India, Art Deco became the gateway to modernism and did not disappear until the 1960s. The resurgence of interest in Art Deco in the 1980s was associated with graphic design, and Art Deco associations with film noir and 1930s charm led to its re-use in jewelry and fashion.

Peview: Part of "California", Maxine Albro, interior of the Coit Tower in San Francisco (1934)

In contact with

art deco

Art Deco, (French art déco, lit. “decorative art”, from the name of the Paris exhibition of 1925, French Exposition Internationale des Arts Décoratifs et Industriels Modernes, Russian International Exhibition of Modern Decorative and Industrial Arts) is an influential trend in the visual and decorative art of the first half of the 20th century, which first appeared in France in the 1920s, and then became popular in the 1930s-1940s on an international scale, manifested mainly in architecture, fashion, painting, and ceased to be relevant in the period after Second World War. It is an eclectic style that is a synthesis of modernism and neoclassicism. The Art Deco style also has significant influences from art movements such as Cubism, Constructivism, and Futurism.

Distinctive features - strict regularity, bold geometric shapes, ethnic geometric patterns, decoration in halftones, lack of bright colors in the design, while colorful ornaments, luxury, chic, expensive, modern materials (ivory, crocodile skin, aluminum, rare woods, silver). In the USA, the Netherlands, France and some other countries, Art Deco gradually evolved towards functionalism.

The international exhibition, held in 1925 in Paris and officially called "Exposition Internationale des Arts Décoratifs et Industriels Modernes", gave life to the term "Art Deco". This exhibition showed the world French-made luxury goods, proving that Paris remained an international center of style after the First World War.

The Art Deco trend itself existed even before the opening of the exhibition in 1925 - it was a noticeable trend in European art of the 1920s. It did not reach American shores until 1928, where in the 1930s it evolved into the Streamline Moderne, an Americanized offshoot of Art Deco that became the hallmark of that decade.

Paris remained the center of the Art Deco style. In furniture, he was embodied by Jacques-Émile Ruhlmann, the most famous of the furniture designers of that era and, perhaps, the last of the classic Parisian ébéniste (cabinet makers). In addition, the works of Jean-Jacques Rateau, the products of the Süe et Mare company, the screens of Eileen Gray, the work of forged metal by Edgar Brandt, the metal and enamel of the Swiss of Jewish origin Jean Dunant, the glass of the great René Lalique and Maurice Marino, as well as watches and Cartier jewelry.

The symbol of Art Deco in decorative and applied arts was a sculpture made of bronze and ivory. Inspired by Diaghilev's Russian Seasons, the art of Egypt and the East, as well as the technological achievements of the "machine age", French and German masters created a unique style in small plastic of the 1920s - 1930s, which raised the status of decorative sculpture to the level of "high arts." Dmitry Chiparus, Claire Jean Robert Colin, Paul Philippe (France), Ferdinand Preiss, Otto Poertzel (Germany), Bruno Zack, J. Lorenzl (Austria) are considered classic representatives of Art Deco in sculpture.

Although the term Art Deco originated in 1925, it was not commonly used until the shift in attitude towards the era in the 1960s. Art Deco masters were not part of a single community. The movement was considered eclectic, influenced by several sources.

Art Deco masters liked to use materials such as aluminum, stainless steel, enamel, wood inlays, shark and zebra skin. They actively used zigzag and stepped forms, wide and energetic curved lines (in contrast to the soft flowing curves of Art Nouveau), chevron motifs and piano keys. Some of these decorative motifs have become ubiquitous, such as the key pattern found on ladies' shoes, radiators, Radio City lecture halls, and the spire of the Chrysler Building. The interiors of cinemas and ocean liners, such as Ile de France and Normandy, were willingly decorated in this style. Art Deco was luxurious, and it is believed [source not specified 1667 days] that this luxury is a psychological reaction to the asceticism and restrictions during the First World War.

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