Art Deco by Victoria Charles, Klaus H. Carl

By Victoria Charles, Klaus H. Carl

Artwork Deco type was once tested at the ashes of a disappeared international, the single from sooner than the 1st international warfare, and at the origin stone of an international but to turn into, opened to the main undisclosed gives you. Forgetting herself within the whirl of Jazz Age and the euphoria of the “Années Folles”, the Garçonne together with her linear form displays the architectural kind of artwork Deco: to the rounded curves be successful the easy and simple androgynous directly line…

Architecture, portray, furnishings and sculpture, dissected through the writer, proclaim the druthers for sharp strains and damaged angles. even though ephemeral, this stream retains on influencing modern layout.

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A gallery for electricity, to aid the monitoring, removed “the miserable installation of projectors in the middle of the public”. Placed directly below the ceiling, all around the room, it constituted at the same time the best kind of decoration – Herman Sachs, Spirit of Transportation, ceiling of the entrance hall of the Bullocks Wilshire building, 1929. Los Angeles. 38 39 40 one that fulfils a purpose. The same intelligence went into the construction process. For an ephemeral building, Auguste Perret had only implemented expensive and durable materials when they were proven to be warranted.

A liquid stone rendering gave the walls a clean look, free from dryness. The meeting room, built by Haubold, the function room of Louis Sweats, and the monumental staircase of Charles Letrosne which lead to this hall, did not require any work to be expressed through external silhouettes. They were, inside the walls of the Grand Palais, large decorations carried out in precarious materials. Inside the meeting room there was a huge challenge to anchor, even temporarily, the overhang of the balconies intended to contain several hundred people, into the galleries on the first storey of the Grand Palais, and to organise a platform with the possibility of making cinematographic projections onto a screen, whereby the existing cupola was obstructing its mounting.

With its small houses with terraces and its patios shaded by a tree or a trellis, it is a garden-city under the African sun. In the French section, sculpture played a considerable role, showing that at that time, as before, there was no other art which produced on the premises better and brighter talents. But good sculpture cannot be improvised. The figures which Charles Despiau and Aristide Maillol exhibited were the result of a long research period. La France by Bourdelle which, standing in front of the Grand Palais, seeming to greet the nations, had been cast in bronze to commemorate the arrival of the American volunteers in 1917 at the Pointe de Grave.

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