design moderne et décoration
Pierre Chareau was a French architect and designer.
Chareau designed the first house in France made of steel and glass, the Maison de Verre.
Chareau was a member of Congrès International d'Architecture Moderne.
Pierre Chareau was a French architect and designer.
Chareau designed the first house in France made of steel and glass, the Maison de Verre.
Chareau was a member of Congrès International d'Architecture Moderne.
Pierre Chareau was a French architect and designer.
Chareau designed the first house in France made of steel and glass, the Maison de Verre.
Chareau was a member of Congrès International d'Architecture Moderne.
Gino Sarfatti was an Italian engineer and interior designer.
Vittoriano Viganò was an Italian architect and designer based in Milan. He graduated from the Polytechnic University of Milan in 1944, and had there a long career as a Professor in Interior Architecture and Urban Planning. He also worked as an Art Director of Arteluce for several years. Viganò always kept his eyes open to new emerging currents, and became known as a skilful interpreter of rationalist and brutalist architecture.
Pierre Chareau was a French architect and designer.
Chareau designed the first house in France made of steel and glass, the Maison de Verre.
Chareau was a member of Congrès International d'Architecture Moderne.
Jean Royère was a French designer.
A key figure of the avant-garde in the 1950s, Royère tackled all kinds of decoration work and opened branches in the Near East and Latin America. Among his patrons were King Farouk, King Hussein of Jordan, and the Shah of Iran, who were captivated by his freedom of creation and his elegance and entrusted him with the layout of their palaces. Royère pioneered an original style combining bright colors, organic forms and precious materials within a wide range of imaginative accomplishments. In 1980, he left France for the United States, where he lived until his death.
Jean Royère was a French designer.
A key figure of the avant-garde in the 1950s, Royère tackled all kinds of decoration work and opened branches in the Near East and Latin America. Among his patrons were King Farouk, King Hussein of Jordan, and the Shah of Iran, who were captivated by his freedom of creation and his elegance and entrusted him with the layout of their palaces. Royère pioneered an original style combining bright colors, organic forms and precious materials within a wide range of imaginative accomplishments. In 1980, he left France for the United States, where he lived until his death.
Line Vautrin is a French artist, jeweller and designer.
Her work ranges from jewellery to objects such as mirrors, trays and boxes. Devoted to experimentation, she opened A.D.A.M. (Association for the Development of Handmade Arts), a craft school where she taught metalwork and jewellery making and also sold the raw materials she used in her practice.
![36 progetti di ville di architetti italiani, a cura dell'Esposizione Triennale Internazionale delle Arti Decorative Industriali Moderne alla Villa Reale di Monza, | Bestetti e Tumminelli, Milano [1930].. Fabric binding. (23x29x3.5 cm.) (slight defects)](/assets/image/picture_2902897/d7c70/jtocajvo8vv4m-xmqrqse7zwy2qp912lhmsqsjakfe8jy148eyq6blrnjnzdkzf1686080632jpg__fix_374_244.jpeg)
![36 progetti di ville di architetti italiani, a cura dell'Esposizione Triennale Internazionale delle Arti Decorative Industriali Moderne alla Villa Reale di Monza, | Bestetti e Tumminelli, Milano [1930].. Fabric binding. (23x29x3.5 cm.) (slight defects)](https://veryimportantlot.com/assets/image/picture_2902897/d7c70/jtocajvo8vv4m-xmqrqse7zwy2qp912lhmsqsjakfe8jy148eyq6blrnjnzdkzf1686080632jpg__fix_374_244.jpeg)
Émile-Jacques Ruhlmann, (sometimes called Jacques-Émile Ruhlmann), was a French furniture designer and interior decorator, who was one of the most important figures in the Art Deco movement. His furniture featured sleek designs, expensive and exotic materials and extremely fine craftsmanship, and became a symbol of the luxury and modernity of Art Deco. It also produced a reaction from other designers and architects, such as Le Corbusier, who called for simpler, functional furniture.
Pierre Chareau was a French architect and designer.
Chareau designed the first house in France made of steel and glass, the Maison de Verre.
Chareau was a member of Congrès International d'Architecture Moderne.
Oskar Kokoschka was an Austrian artist, poet, playwright, and teacher, renowned for his significant contributions to the Expressionist movement. Born on March 1, 1886, in Pöchlarn, Austria, Kokoschka's journey into the arts began against the backdrop of early 20th-century Vienna, a city vibrant with cultural ferment and avant-garde experimentation. Without formal training in painting, Kokoschka brought a unique perspective to his work, approaching the medium with a fresh, unencumbered eye that eschewed traditional methods in favor of intuitive, expressive techniques.
Kokoschka's early career was marked by an innovative approach to portraiture and landscape, characterized by intense expressionism and a deep psychological penetration of his subjects. His artistic philosophy was heavily influenced by 17th-century Czech humanist Jan Amos Comenius, from whom Kokoschka adopted the idea that learning and creativity flourish through sensory engagement and reasoning. This philosophy underpinned both his artistic output and his teaching methodology, which favored storytelling and the evocation of dramatic emotion over conventional art instruction.
Among Kokoschka's notable early works were his contributions to the Vienna Kunstschau and his involvement with the Wiener Werkstätte, which provided him opportunities to explore his artistic voice through various commissions, including postcards and illustrations for children's books. His autobiographical poem "Die träumenden Knaben" (The Dreaming Youths) and the related illustrations showcase his journey from Jugendstil to Expressionism, marking a pivotal moment in his career and in the development of modern art.
Kokoschka's tumultuous affair with Alma Mahler is well-documented, influencing some of his most acclaimed works, such as "The Bride of the Wind" (The Tempest), which vividly encapsulates their passionate, stormy relationship. This work, alongside others like "Portrait of a Young Girl" and "Knight Errant (Self-Portrait)", exemplifies Kokoschka's masterful use of color, form, and emotional intensity to convey complex psychological states and narratives.
Oskar Kokoschka's legacy as a pioneering figure in Expressionism is undisputed. His works continue to resonate with collectors and experts in art and antiques, not only for their aesthetic and emotional depth but also for their groundbreaking approach to visual storytelling and the exploration of the human condition. For those interested in the vibrant world of Expressionist art and the profound humanism of Kokoschka's oeuvre, signing up for updates on new product sales and auction events related to Oskar Kokoschka offers a unique opportunity to engage with the enduring impact of his work.
Jean Royère was a French designer.
A key figure of the avant-garde in the 1950s, Royère tackled all kinds of decoration work and opened branches in the Near East and Latin America. Among his patrons were King Farouk, King Hussein of Jordan, and the Shah of Iran, who were captivated by his freedom of creation and his elegance and entrusted him with the layout of their palaces. Royère pioneered an original style combining bright colors, organic forms and precious materials within a wide range of imaginative accomplishments. In 1980, he left France for the United States, where he lived until his death.
Marie Laurencin was a pivotal figure in the Parisian avant-garde, a French artist renowned for her distinct approach to painting. Unlike her contemporaries who embraced the bold facets of Cubism, Laurencin carved a niche for herself with a palette of soft pastels and a focus on ethereal female forms. Her work, embodying an enchanted, feminine world devoid of masculine presence, was revolutionary for its time, offering a sanctuary of female harmony that was both subtle and profound.
Laurencin's oeuvre extends beyond paintings to include watercolors, drawings, and prints, with notable works such as "Les jeunes filles" and "Portrait de Mademoiselle Chanel" finding homes in prestigious institutions like the Museum of Modern Art in New York and the Musée de l'Orangerie in Paris. Her legacy is further cemented by the Musée Marie Laurencin in Nagano, Japan, the only museum dedicated solely to a female painter, showcasing over 600 of her pieces.
Her approach diverged significantly from the norms of Cubism, incorporating a distinctly feminine aesthetic through the use of pastel colors and curvilinear forms. This unique style set her apart from peers and positioned her as one of the few female Cubist painters, alongside figures like Sonia Delaunay and Marie Vorobieff. Laurencin's artistry was not just an exploration of femininity but a celebration of it, challenging the dominant artistic narratives of her time.
The critique of Laurencin's work for its deliberate embrace of femininity and decorative qualities overlooks the radical essence of her aesthetic. Her paintings, characterized by serene and charming depictions of women, argue for a creative space where the feminine is not just visible but central. Works like "The Fan" and "Spanish Dancers" exemplify her ability to create intimate, self-sufficient worlds that engage the viewer in narratives of absence, longing, and female solidarity.
For collectors and experts in art and antiques, Laurencin's work offers a nuanced understanding of early 20th-century modern art movements through the lens of femininity. Her contributions to art history reflect a bold reimagining of the female form and the spaces women occupy, both in the physical and imaginative realms.
To stay informed about new product sales and auction events related to Marie Laurencin, sign up for updates. This subscription ensures you remain at the forefront of the latest developments and opportunities to acquire works by this groundbreaking artist.
Charlotte Perriand was a French architect and designer. Her work aimed to create functional living spaces in the belief that better design helps in creating a better society. In her article "L'Art de Vivre" from 1981 she states "The extension of the art of dwelling is the art of living — living in harmony with man's deepest drives and with his adopted or fabricated environment." Charlotte liked to take her time in a space before starting the design process.
Jean-Édouard Vuillard was a French artist, celebrated for his role in the avant-garde group Les Nabis. Known for his decorative art and printmaking, Vuillard's work was heavily influenced by Japanese prints, which is evident in his unique style of flattened color planes and simplified forms. His paintings, often of interior scenes, are distinguished by their intimate and domestic subjects, displaying a keen sensitivity to the subtle dynamics of everyday life.
In the late 1880s, Vuillard joined Les Nabis, a group of artists who sought to break away from traditional artistic concepts. This association played a pivotal role in shaping his artistic philosophy. Vuillard’s early works, like "The Seamstresses" (1890) and "Child in an Orange Shawl" (1894–95), demonstrate his evolving style, marked by the use of vibrant colors and a distinct lack of perspective, aimed at exploring spatial relationships.
Vuillard's artistic journey included ventures into theater decoration and interior design. He designed stage sets and theater programs, notably for Lugné-Poe's Theatre de l’Oeuvre, and also worked on large-scale panel paintings for French patrons. His close collaboration with the Natanson brothers, founders of the cultural review La Revue Blanche, was significant in his career. This association brought him various commissions, including decorative works for private homes and public buildings.
Vuillard's art evolved over time, transitioning from his Nabis-style works to more naturalistic portraits in the 1920s and 1930s. Despite this shift, his focus remained on portraying the intricacies of domestic life, often featuring the people closest to him. Notable among his subjects were Misia Natanson, a prominent figure in the Parisian cultural scene, and Lucy Hessel, with whom Vuillard had a long-term relationship.
For art collectors and experts, Vuillard's works are a window into the intimate spaces of Parisian life at the turn of the century. His ability to transform everyday scenes into art makes his work particularly appealing. Pieces like "The Green Interior" (1891) and "Breakfast at Villerville" (1910) are exemplary of his style and are celebrated for their quiet yet profound depiction of ordinary life.
Vuillard's legacy lives on in galleries and museums worldwide. His work remains a testament to the power of domestic scenes in art, capturing the essence of the period with a unique blend of realism and abstraction.
For those interested in the subtle beauty of Vuillard's work, subscribing to our updates will ensure you stay informed about new sales and auction events featuring his art. Our updates are tailored for connoisseurs like you, providing insights into the world of art and antiques, with a focus on Vuillard's enduring legacy.
Giovanni (Gio) Ponti was an Italian architect, industrial designer, furniture designer, artist, teacher, writer and publisher.
