1925 International Exposition of Modern Industrial and Decorative Arts in Paris
Paris waited a long fourth dimension for its international exhibition. Since the Turin Expo in 1902, Italy had cornered the decorative arts in Turin, Milan and Rome. Société des artistes décorateurs was created in 1901 and endorsed the specifications of the Italian organizers. Their stipulations stated that only "original works that will show a marked trend towards aesthetic renewal" may be accepted, excluding "imitations of old styles and uninspired industrial productions" from its exhibitions. It was their aim to enhance the status of the decorative arts, which had been looked downwardly upon until that point.
Paris, however, had a difficult fourth dimension getting the exhibition bundled. In 1911, the Guild of French Decorative Artists joined with Central Union of Decorative Arts and the Société d'encouragement à l'art et à l'industrie to appeal the authorities for an exposition to accept place in 1915. Information technology was postponed to 1916, and then until 1922 because of Earth War I, and then again to 1924, until information technology was finally set for April 28 to November 30, 1925.
In a sort of contest between modern and industrial nations, the 1925 Paris Exhibition opposed two distinct and difficult-to-reconcile movements: the Fine art Deco way on one mitt, and the international avant-garde on the other. Born as a reaction to the organic forms of Art Nouveau, Art Deco hailed a return to a classic lodge in architecture, ornamentation and furniture, inspired by cubist geometry and the symmetry of the Viennese Secession.
See as well: A Stable Investment: The Continuing Rise of Art Deco
The advanced was distinguished by a more than social and functional arroyo to the decorative and industrial arts, focusing on a stripped-down artful inspired by the High german Bauhaus. It took 2nd place to Fine art Deco, which was expressed without restraint in section stores, piece of furniture and pattern. The collector's pavilion designed past architect Pierre Patout and decorated past Jacques-Emile Rulhmann, besides every bit the bell-shaped tourist pavilion designed by Robert Mallet-Stevens, featured the Deco fashion during the exhibition, with a view to elegance and overall coherence that was highly appreciated by the public.
The pavilion created by the Société des artistes décorateurs showcased Ruhlmann'southward furniture and Mallet-Stevens' talent as an interior designer, while also featuring Georges Chevalier, André Groult and Pierre Chareau. Chareau'due south 'library office' designed peculiarly for the exhibition was later restored at the Musée des arts décoratifs, where information technology is still on display today. The Bordeaux pavilion, designed past the local architect Pierre Ferret – who also designed the Frugès house – was located in ane of the iv towers built by Charles Plumet to brandish French wines, and was one of the nigh popular pavilions at the 1925 consequence.
The avant-garde artists could exist institute within the USSR pavilion, designed by Konstantin Melnikov. He had broken away from workers' housing in 1922 and began following Le Corbusier'due south 'New Spirit', which did not talk about 'article of furniture' simply 'equipment', and which did not tolerate excessive decoration. In the same vein, Theo van Doesburg's projects and the De Stijl motility were represented in the Dutch pavilion.
Every bit a major showcase for the luxury industries, specially in France, the 1925 International Exhibition of Decorative and Modernistic Industrial Arts was a great success. Its popularity caused by the xv million visitors greatly contributed to the expansion of Fine art Deco throughout the world, and helped create the legacy that the style enjoys today. The expo was key for advanced styles as well – fifty-fifty if they weren't nevertheless fully appreciated, their pavilions already independent the founding elements of the future groovy architectural revolutions of the 20th century.
Find out more than about the Art Deco fashion here
Source: https://www.barnebys.com/blog/1925-the-height-of-art-deco
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