Art Deco Signed

Jean Dorville (1902-1985) Hsp From 1945 / Paris School Art Deco Nabi Fauvism

Jean Dorville (1902-1985) Hsp From 1945 / Paris School Art Deco Nabi Fauvism

Jean Dorville (1902-1985) Hsp From 1945 / Paris School Art Deco Nabi Fauvism    Jean Dorville (1902-1985) Hsp From 1945 / Paris School Art Deco Nabi Fauvism

Signed and dated lower right. Very beautiful oil on board. Handsigned and dated on lower right.

18.1 "x 21.6" in. National School of Decorative Arts of Paris. Exhibited at the Fall Salon and the Salon des Independants.

Retrospective at the Paris city hall in 1954. This interior with its suede armchair and charcoal stove invites us to the peaceful warmth of the opulent houses of the 40s. Everything is soft, charming and refined. The warmth of the tones used as blue glassware, and the quality of the graphics of the painter, offers us here a work of high quality of this referenced artist and very well side, his watercolors are proposed around 600. National school of decorative art of paris exhibited at the salon d'automne and at the indie salon retrospective at the paris city hall in 1954. This interior in the suede armchair and charcoal stove, invites us to the peaceful warmth of the opulent homes of the 40s. All is sweetness, charm and refinement. The warmth of the tones used as a glassware, and the quality of the graphics of the painter, are offered around 600. Art deco is an artistic movement born in the 1910s and which flourished in the 1920s before declining in the 1930s.

It was extremely lively especially in the decorative arts, architecture, design, fashion and art. Costume, but in fact concerned more or less all forms of the plastic arts.

It is the first style to have had a worldwide distribution, mainly affecting France, Belgium, all the Anglo-Saxon countries united kingdom, united states, canada, australia, new zealand, india, philippines, etc, as well as several Chinese cities such as Shanghai or Hong Kong. The art deco style takes its name from the international exhibition of modern decorative and industrial arts held in Paris in 1925. Vocabulary takes different forms depending on the region, architects and their customers, its stylistic unity is the use of geometry (and geometry) for decorative purposes. Without a true leader or theory, this style was criticized in his early years for his superficiality. It was particularly used for all buildings to enhance the image of its sponsor or referring to recreation: commercial architecture shop, headquarters, etc, theaters and cinemas but also domestic architecture (the decor serving as a sign of social distinction).

Touching the wealthiest classes first, it spread rapidly throughout the social body and became very popular. A reaction movement against the new art appears from the beginning of the century in France, and even earlier abroad as in Belgium, Germany, the Netherlands, etc. Some already describe the art nouveau forms as "soft" or even as "noodle style" (nou).

They are therefore moving towards simple lines, classical compositions and a sparing use of decor. This desire to return to order, symmetry and sobriety takes different expressions depending on the country.

In Austria, for example, the waving line of early art nouveau times is quickly replaced by a network of orthogonal lines and simple volumes under the influence of Scottish architect and designer Charles Rennie Mackintosh. Josef Hoffmann, Koloman Moser, Otto Wagner and the Wiener Werkstätte are the emblematic artists of this trend. The interiors, known by photographs, mobilize all wiener werkstätte and painter gustav klimt. In France, the first signs of this desire for change are perceptible as early as the 1900s.

In 1907, Eugène Grasset published a method of ornamental composition that gave pride of place to geometric shapes and its variations and contrasts with the waving freedom of the guimard style, so popular in Paris a few years earlier. The following year, Paul Iribe.

Draws for paul poiret a fashion album whose aesthetic strikes the Parisian milieu with its novelty. Third important event, the autumn salon of 1910.

See the invitation of the Munich artists who for several years had. Around 1910, the French decorators andré mare and louis süe also make their style evolve towards more rigor and restraint.

Finally, between 1910 and 1913, the construction of the Théâtre des Champs-Élysées took place, another sign of the radical aesthetic change experienced by the Parisian milieu of the time. First entrusted to Henry van de Velde, the design and construction quickly return to auguste perret. The rigorous composition of the facade and the measured place left to decor hit the spirits at the inauguration in 1913. His article the new style, published in the magazine the decorative art, expresses the rejection of art nouveau forms (asymmetrical, polychrome, picturesque, which excite the feelings more than the reason), and calls for a "voluntary simplicity\"Single matter" and "manifest symmetry". The end of the article urges artists to draw inspiration from the classicism of the seventeenth century marked by "clarity, order and harmony" and to resume the thread of the history of French styles from the Louis period -philippe, without pasticher.

Final words from vera describe two themes that will be ubiquitous in the future art deco style: "the basket and the garland of flowers and fruits". The influence of painting should not be neglected in the explanation of these evolutions. These 1910s are the moment of diffusion and popularization of Fauvism and even more of Cubism. The painters of the Golden Section exhibit works often more accessible to the public.

What were those of the Picasso and Braque de. The period of analytical cubism.

And the shimmering colors contrast with the fragmented and avant-garde still lifes of the pioneers of the movement. The cubist vocabulary is ripe to appeal to fashion designers, furniture and interior designers. Finally, the 1910s Paris discovers Sergey Diaghilev's Russian ballets, mixing dance, music, and painting, inspired by the "Arabian Nights," an invitation to luxury and exoticism; costumes are created by leon bakst and many others. From the fashion of fans, feathers, streams of water, bright colors. Unusual colors will be present in the decor and furniture: we will see boudoirs with orange walls, salons lined with black. Order, color and geometry: the essence of art deco vocabulary is laid. The Roaring Twenties World War I deeply hurt the French and German economies and societies. While the germany of the 1920s is stunned under the blows of the defeat and a serious economic crisis (which will testify the artists of the new objectivity), France sees its economy start again. This recovery can not forget the difficulties on the ground. The destroyed cities needed to be rebuilt (such as Reims and Saint-Quentin for example, 80% destroyed during the war, which will be rebuilt largely in an Art Deco architectural style). In addition, monetary instability generates a rise in constant prices until 1927 and the. Rent legislation causes a severe housing crisis for the lower and middle classes. But the beginning of the 1920s also saw the manifestations of the intact fortune of the wealthiest classes. In Paris, as in large provincial cities, commentators of the time observe the construction of rich apartment buildings, villas and mansions. These are prolific projects for decorating artists and art deco architects. The item "jean dorville (1902-1985) hsp from 1945 / school of paris art deco nabi fauvism" is on sale since Thursday, April 3, 2014. It is in the category "art, antiquities \ art of the twentieth, contemporary \ paintings ".Art" and is located in / in paris.

This item can be shipped to the following countries: America, Europe, Asia, Australia.

  1. type: oil on panel
  2. period: xxth and contemporary
  3. genre: art deco
  4. theme: inside
  5. characteristics: signed
  6. style: 1940-1960

Jean Dorville (1902-1985) Hsp From 1945 / Paris School Art Deco Nabi Fauvism    Jean Dorville (1902-1985) Hsp From 1945 / Paris School Art Deco Nabi Fauvism