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By Victoria Charles, Klaus H. Carl

Paintings Deco sort used to be demonstrated at the ashes of a disappeared global, the single from prior to the 1st international conflict, and at the starting place stone of a global but to turn into, opened to the main undisclosed offers. 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 type of paintings Deco: to the rounded curves be triumphant the easy and undeniable androgynous directly line…

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

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The committee of aesthetics, responsible for reviewing the projects conceived for the decoration of the Court of Trades, estimated that at the heart of an exhibition dedicated to decorative and industrial modern arts, contemporary life and work were to be glorified. In spite of its beautiful overall quality and the talent of its artists, a first group was rejected, because it evoked a historical synthesis of old civilisations. Prince Asaka Residence, Grand Guest Room, 1931-1933. Tokyo.

It was a significant part of the Exhibition, particularly in the French section. The French section Tiffany & Co, Desk clock. 7 cm. 30 Reinforced concrete and its derivatives played such a large part in the Exhibition that a classification based on the implemented materials would not ensure a clearer approach. 31 Jean Dunand, Lacquered panel with gold leaf, 1930. 32 33 34 It would be better to look at the achievements of the various projects, starting with the section’s over plans. The French section comprised two main areas, almost perpendicular to each other: one of them marked by the Seine between the Pont de la Concorde and the Alma Bridge, the other one, leading alongside the Avenue Nicolas II, the Alexandre III Bridge, and the alley bisecting the section cutting across the Esplanade des Invalides from north to south.

The decoration of the three chapels with open sections on the other sides had been entrusted to the three religious art societies grouped around the Saint-Jean-Baptiste Society. Which country did the cell of the New Spirit call its home? It was difficult to say. In spite of its strange appearance it was of our world, of an industrialised world, not of a utopian kingdom. We say “cell” and not “pavilion”. Le Corbusier and Jeanneret had indeed presented one unit of a whole, an element of a “building-villa”, produced in series with posts and flagstones.

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