Art Deco. Victoria Charles

Чтение книги онлайн.

      Exhibition programme

      Thus, from all sides, it was an era metamorphosed by scientific progress and economic evolution, turned upside down politically and socially by the war, liberated from both anachronistic pastiche and illogical imaginings. Whilst the artist’s invention reclaimed its rightful place, machines, no longer a factor in intellectual decline through its making or distributing of counterfeit copies of beautiful materials, would permeate aesthetically original and rational creations everywhere. This world movement, however, was lacking the effective support and clear understanding of the public. Only these accolades would merit an exhibition. But rather than a bazaar intended to show the power of the respective production of the nations, it would have to be a presentation of excellence turned towards the future.

      When the Exposition internationale des Arts décoratifs et industriels modernes, or International Exhibition of Modern Decorative and Industrial Arts – originally planned for 1916, but adjourned because of the war – was re-envisaged in 1919 by public authorities, modifications were imperative. The 1911 classification project contains only three groups: architecture, furniture, and finery. The arts of the theatre, of the streets, and the gardens, which were special sections, naturally required a new group. In its title, the new project also comprised a significant addition. The Exhibition was to be devoted to decorative and “industrial” arts; it would affirm the willingness of a close co-operation between aesthetic creation and its distribution through the powerful means of industry. Besides the manufacturers, the material suppliers were also to be given a large space, thanks to the design which inspired the presentations of 1925. “Modern” decorative art was to be presented in its entirety like an existing reality, completely suited to contemporary aesthetic and material needs. Ceramic tiles, hanging fabric wall coverings, and wallpaper – each has their reason for adorning particular spaces. The ideal mode of presentation was thus the meeting of a certain number of “modern” buildings, decorated entirely inside and out, which would be placed next to stores, post offices, and school rooms, constituting a kind of miniature city or village.

      Moreover, these designs had to inspire the materials they had to work with, adopted for the use of the location granted and the distribution of the works which were thoughtfully placed in their midst. That is how four principal modes of presentation were determined: in isolated pavilions, in shops, in galleries of the Esplanade des Invalides, and in the halls of the Grand Palais. The isolated pavilions, reserved for associations of artists, craftsmen, and manufacturers had to represent village and countryside homes, hotel businesses, schools, and even churches and town halls. In short, all the framework of contemporary life could be found here. Shops marked the importance attached to urban art and offered the possibility of presenting window-dressings, as well as displays, spanning one or more units. The galleries, particularly for architecture and furniture, allowed compositions connected to the Court of Trades, which were managed by the theatre and the library. They were meant to constitute the largest part of the Exhibition. At last, the interior installations of the Grand Palais were systematically categorised.

      The Exhibition aroused new activity long in advance, as a consequence of the emulation it caused among artists and manufacturers. The creator’s efforts were significantly encouraged by groups of “modern” minds, which grew in number and made engaging and effective propaganda. Foreign exhibitors attach no less importance than the hosts to an opportunity that would allow most countries to compare their efforts and enrich their designs. Thus, the frame of mind of the exhibition was not a centralising narrow-mindedness, a formal modernism of the time. Far from imposing rigid and concrete specifications of style, the Exhibition of 1925 became apparent as an overview intended to reveal the tendencies in contemporary art, and to showcase their first achievements. The only stipulation was for it to be an ‘original production’, appropriate to the needs, universal or local, of the time. This phrase could be used to refer to any previous century, which may have only been said to be great because it was thought to be innovatory.

      Donald Deskey, Folding screen, c. 1930.

      Wood, fabric, painted and metal decoration.

      Museum of Fine Arts, Boston.

      Architecture, Painted and Sculpted Decor

      Edgar Brandt, Oasis, folding screen (detail), c. 1924.

      Iron and copper. Private collection, Paris.

      All exhibitions comprised of new construction greatly credited the efforts of the architects: well-adapted to the requirements for its brief, more or less accessible and expressive, and leaving visitors with a sincere and lasting first impression. Even more so, in an exhibition devoted to decorative and industrial modern arts, architecture required the most attentive care and excited great interest. Indeed, the most utilitarian of all arts is also the most “decorative” and the most closely related to industrial progress.

      Decorative art is as such based on the great number of its creations. Large silhouettes of buildings are more important in the scenery of life than all other objects with which we can adorn it. Sculpture and painting can only add a little to the beauty of their already thick volumes, and will not be able to enrich their legacy, should they not have their own intrinsic nobility. As for the alliance of art with industry, architects did not wait to conclude it, the eloquent manifestos which, for almost a century, have proclaimed the need of it. Continuously in search of new materials, effective and economic construction processes, they benefit from the discoveries of science and sometimes even cause them. Lastly, having to create a framework where everything that further embellishes the pavilion finds its place and makes sense, architecture coordinates the efforts of the other arts. It should, therefore, be a source of inspiration. However, it ultimately becomes a slave to the whole, a mere shell from which a unity of expression must originate in order to create the style of its time or, more simply, the harmony of the pavilion itself.

      “Modern” architecture: new materials, new shapes

      If we understand by “modern” architecture that which profits from the successes of industry, by using the new materials and methods of construction of the time, in order to carry out their new programmes, then the Exhibition of 1900 truly marked the decline of “modernism”. In France, the 19th century, in spite of its taste for formulas borrowed from previous eras, was marked by strong and original works. Progress in metallurgy, a consequence of the development of public transport infrastructure, had drawn attention to the varied possibilities and real beauty of iron. From Henri Labrouste to Victor Baltard, and Paul Sédille to Émile André, architects used it unreservedly for the construction of public libraries, market halls, stations, department stores, and museums. With the Eiffel Tower, the Machine Gallery, and the palaces of Jean-Camille Formigé, the Exhibition of 1889 dedicated a lengthy and persevering effort to the cause. Nevertheless, eleven years later, despite a few exceptions, the retrograde tendencies dominated.

      William van Alen, Chrysler Building, entrance hall, 1927–1930.

      New York.

СКАЧАТЬ