ART DECO ESSAY (DRAFT ONE)

          It’s a visually rich palette. It’s a modern statement. It’s mathematical and elegant. It’s an elitist movement, ripe with cultural influence. It’s Art Deco. Since it originated in 1900, Art Deco has shrouded the world with a culturally and technologically influenced art style. It became a symbol - It became an era. Manifesting from a sudden surge of technological progression, Art Deco embraced a generation through a plethora of art forms in “design and the decorative arts” (Carolyn Mcdowall, www.youtube.com, 2010) – architecture, interior design, furniture, decoration and even transport. With a huge thanks to an ensemble of key influential organisations, exhibitions and most importantly, designers - such as Hector Guimard, Eugene Grasset and Raoul Lachenal - Art Deco was not just propelled into the elite society for a temporary phase, it became an artistic revolution – a cultural icon of the 20^th century. Modern society recognises it, identifies with it and even to this day, exhibits its influence unknowingly. However, its journey was not short or straight – it rose, fell, reached its apex and eventually stamped its mark on arts history, on society’s history. And through recent years of disinterest and neglect, its rhythm has started to pulsate yet again - Art Deco “is enjoying a substantial revival of interest” (Eva Weber, E. W. (2003) Art Deco.  JG Press.)

THE HISTORY AND JOURNEY OF ART DECO

    Holding an exaggerated “mirror” (Eva Weber, E. W. (2003) Art Deco. JG Press) to its times, Art Deco represented the cultural progression that Paris was witnessing in the late 19^th and early 20^th century. Technology had begun its worldwide journey through a surge of interest and a loop of technological evolution and facilitation. However, it didn’t just “become”, it was an influenced manifestation and departure from other movements - Art Nouveau, Modernism and Cubism. Carolyn Mcdowall believes “It borrowed from virtually all the design stars of the past in order to fashion the future” (www.youtube.com, 2010). In other words, it was a retrospective study of the past that gave its response with a modern influence in order to lead the way - and it did.  Its aims, at least at its beginnings, focused on “simplifying form, streamlining it, and fitting it to suit function” (www.youtube.com, 2010) as Carolyn Mcdowall believes. Take the two examples to the right – the 1930’s decorative stone geometrical staircase with engineered iron bars and an oak wreathed handrail, as well as the 21^st century clinical, mathematical and elegant staircase – you can see this design philosophy flowing within creativity of these two interior staircases. They are simple, they are streamlined - they are functional. But declared quondam, Art Deco resonated within a cluster of art forms within the decorative arts. The colourfully bold stained glass window salvaged from old “residential homes from England” (www.stainedinglass.co.uk, 2004). The iconic 1933 Chicago World's Fair poster, that summarised Art Deco on all parts and the glorifying female “Flapper” fashion that revolutionised the independence of woman. This variety of examples grounds Art Deco’s embrace as a fact of life, not just an artistic theory – it defined a generation.

     However, years passed before Art Deco eventually reached its apex. It was only until the “Exposition Universelle” of 1900 that promoted Paris’s achievements of the past century that Art Deco “really” started to naturally manifest as its own independent movement. It was at this retrospective that the “Decorative Artists Society was founded following the Universal Exposition of 1900” (www.arthistory.net, 2005). This was to become the most crucial step of Art Deco’s journey as its early members just happened to be the most influential Art Deco designers - Hector Guimard, Eugene Grasset and Raoul Lachenal. Coincidentally, these designers just happened to practice Art Deco’s main influences – Art Nouveau, Cubism and Modernism. These are the individuals that eventually set the foundations, built upon the foundations and set the standard Art Deco is internationally identified by today. Not years later, in 1925, did the “Exposition Internationale des Arts Decoratifs et Industriels Modernes” take place, where John M. Cunningham states “the style was first exhibited” (www.britannica.com, 2012). Before this, it was a developing style, attempting to find its feet and keep its footing as the style “Style Modern” (www.britannica.com, 2012). It was at this famed exhibition, that the term “Art Deco” was coined – which, as surprising as it is, was an abbreviation of the exhibitions name which propelled it into the cultural spotlight.

     Years passed, Art Deco hit its stride, its influence was felt and its apex finally arrived. Its penultimate stop - central between two world wars - and thus, its eventual wane in popularity. Why? The Great Depression. The war was less a physical, more an economic disaster, especially in France, with ArtHistory.net stating that “it did have to rebuild its economy after the Great Depression of 1929” (www.arthistory.net, 2009). Money was scarce, resultant from the financial redirection for arms and military defence. The result?  Industrialisation – everything was at the bare minimum, with no room for extravagant, elitist, biased design. Art Deco began to lose its cultural popularity, leaving in its wake a permanent shadow of its former self – cars, transport and architecture. Its most famous examples being the UK’s Midlands Hotel in Morecombe and the Parade of Progress transit van – projections of Art Deco’s artistic style (both seen above).

          Art Deco’s influential journey, from its rise to its fall, wouldn’t have been possible but for those who drove it, developed it and solidified it – its key Designers, Hector Guimard, Eugene Grasset and Raoul Lachenal, or to abbreviate it, the Decorative Artists Society

ART DECO’S KEY DESIGNERS

          What is the Decorative Artists Society? What did it do for Art Deco? Who were those involved? What was their creative input? What was their influence on the movement? These are the questions that must be answered to fully appreciate Art Deco’s journey from an influenced idea to a comprehensive movement that influenced the future.

    ArtHistory.net declares that the “founder of the Decorative Artists Society” was “Hector Guimard” (www.arthistory.net, 2009) along with other key influential designers. With the primary goal to demonstrate internationally, the evolution of French decorative arts, the Decorative Arts Society followed Art Nouveau and moulded Art Deco as an extension of its ornate heritage – a influenced predecessor – a homage with its own statement. Practicing with this goal and influence at its core, three early members used the Decorative Arts Society as a catalyst for creative expression - Hector Guimard, Eugene Grasset and Raoul Lachenal. However, their intrinsic talent existed long before this milestone in Art Deco’s journey – they were each individual, passionate, artistically craving and independent designers with their own influences and rich portfolios.

       Starting with the most renowned founder of the Decorative Artists Society, Hector Guimard, born in 1867, “was an important French architect, interior designer and designer of Art nouveau objects.” (www.hector-guimard.com, 2007) Influenced heavily by the Belgian designer and architect Victor Horta, Guimard’s most famous work was Paris’ Art Nouveau metro entrances, with their artistic legacy surviving to this present day – 86 of them to be exact. Completing main bodies of personal work, Guimard took it upon himself to accept various commissions for projects, eventually becoming the pin-up for Art Nouveau - and rightfully so, with HectorGuimard.com stating he was “regarded as the leading exponent of the Art nouveau style, which is often called the "Style Guimard" in France.” (www.hector-guimard.com, 2007). This was a feat by all means; he became an icon and astoundingly, an influence to his influences. His artistic legacy was an eventuality of passion and attention to detail. “No detail was unimportant to him” (www.hector-guimard.com, 2007) – his work with iron, steel and colour in architecture left an influential ripple that confidently placed the foundation of Art Deco. But he was not alone.

     Eugene Grasset was a man of many artistic trades – “carpet patterns, decorative iron, jewellery, calendars, postage stamps, and much more.” (www.eugene-grasset.com, 2007). Born May 25^th, 1841, in a French speaking Switzerland city named “Lausanne”, Grasset started his journey studying architecture at a school in Zurich. Although not a conclusive success, he travelled the world, ravishing and soaking up the variety of cultures surrounding him. Egyptian, Aztec and Parisian are just a few to name and through it, eventually came home from his sophisticated venture, “active in all areas of applied art, including furniture design, book illustrations, and posters.” (www.eugene-grasset.com, 2007). His famous versatile portfolio of work included the façade of the Hôtel de Dumas in Paris, mosaics in Saint Etienne in Braire and stained glass windows in the cathedral at Orléans. Although not the cultural icon Guimard was, the “versatility and the trends in his works” were solely responsible for his comparisons to reformers such as Walter Crane. In that fact, he became an invaluable tool to the Decorative Artists Society - a bible of cultural knowledge, leaving only one more designer to complete the comprehensive trio - Raoul Lachenal.

     Working “in his father's studio until 1911, when he established a new workshop at Boulogne-sur-Seine.” (www.jasonjacques.com, 2011), Raoul Lachenal focused on the art of ceramics. With a heavy exertion of influence from his father, Edmond Lachenal, organically formed influences beamed through his glazed ceramic work. However, his work still retained a personal character - a personal expression. After developing his accomplished portfolio, he finally exhibited his extravagant stoneware at the Paris salons in 1904.  With a “positive reception” to such work as the Lotus Charger and Curvy Vines, he took that as a successful milestone and began to develop upon it. He “adopted an additional decorative mode: incising geometrical designs on stoneware and filling the sections with vividly contrasting slips.” - Key design aspects that eventually defined the movement, Art Deco. Whilst he was not a great versatile, influential pioneer like Grasset or Guimard, Lachenal had developed a precise talent for decoration, and brought his geometric character to the Decorative Arts Society.

          As a collective, all three designers brought their palette of varied knowledge and experience to the table to develop a unification of styles, influences and ideas. The result? An artistic society which demonstrated the evolution of French decorative arts. However, although each designer brought their talent to push Art Deco to its apex between the wars, The Great War brought along with it an industrialised world to facilitate The Great Depression – a point in history that tortured the wealthy art style of Art Deco. Along with the biased, elitist movement, the wealthy shapes and the vibrant colours, Art Deco and its facilitator, the Decorative Arts Society, waned. Regardless, by this point, Art Deco had already left its stamp of cultural and artistic history – it had an image, an atmosphere, even a way of life.

THE CULTURAL IDENTITY OF ART DECO

        “Hollywood is Art Deco, Art Deco is Hollywood” (www.youtube.com, 2011) – a single quote from Dr Susan Currell, an expert in American Studies, which summarises Art Deco as a whole. It’s “all about glamour”, historian Carolyn Mcdowall confidently states. The fact is, the general public didn’t see Art Deco’s influences in homes, rather, they were exposed to it through television and cinema. In fact, Hollywood owes its success to Art Deco, as does Art Deco owe part of its international success to Hollywood. France had heard of its name and seen its design, but it was only after this overexposure to the glamorous new-age statement that it started to flood culture with its artistic integrity – its idolised image. British designers such as Clarice Cliff introduced Art Deco to the mass market in the 1920, but it was Hollywood’s Art Director Frederick Gibbons that marketed the movement consciously to give Hollywood the glamorous, modern stereotype the 1920’s to 1940’s film industry has today. It “Represents novelty” and was “what people looked for” for in entertainment. Films like “Sabrina” (1954) had Art Deco influences - the buildings, the fashions, the female independence, the interior design and the extravagant furniture. “Our Dancing Daughters” (1928), a classic noire film, clearly showed the fashionable “Flapper” style women were often pictured in – it was independence, beauty and glamour. However, it was not the sum of its parts that conjured Art Deco’s representation to the public, it was the parts themselves.

“The characteristic features of these pavilions included zigzag architectural setbacks, the use of unusual materials, the incorporation of decorative wall paintings and ornate metal and glass worked in geometric and floral patterns. Exquisite metal work by Edgar Brandt and decorative glass by Lalique were to be found.” (Eva Weber, E. W. (2003) Art Deco.  JG Press.)

     By observing architectural phenomena such as the Chrysler Building, The Golden Gate Bridge and the Morecombe Hotel in the Midlands you can see how the quondam quote retains validity. Famous for its mathematical and elegant geometric shapes, Art Deco became heavily influenced over the early 20th century. In the UK you have the Midlands Hotel in Morecombe, inspired by the geometrical focus Art Deco adopts. In the US you have the Chrylser Building which was inspired by the trademark Sunburst Motif, and the Golden Gate Bridge whcih focuses on mathematical shapes to facilitate. Art Deco’s identity even finds itself within the interiors of cinema theatres; most cinemas in modern society all have art deco interiors - cinemas such as the Royal Palace Theatre.

          It was this consolidation of attributes that composed the general cultural image Hollywood utilised and in turn, the image that the world adopted. However, these parts originated from the designers that implemented them into the mix – designers who were influenced both individually and as a collective society.

THE INSPIRATIONS OF ART DECO

          The Art of Babylon. Ancient Egypt. Aztec Mexico. Africa. A culmination of historical styles that spawned the common household image of Art Deco and, without realising it, modern society is exposed to its massive influence day by day. Now, look back at the quote from Carolyn Mcdowall - “It borrowed from virtually all the design stars of the past in order to fashion the future” (www.youtube.com, 2010). Now look at the aforementioned cultures – these are the design stars so vaguely mentioned in Mcdowall’s commentary and with them, Art Deco created a collage of these artistic inspirations to create a whole new vision of the present, and an ambition of the future. But there was one design style which prompted its cloud nine ambition - Art Nouveau, its forerunner movement.

      Many find it hard to differentiate between these two. Simply because Art Deco is the spiritual younger brother of Art Nouveau and in turn, share many similar ideologies and visual qualities. So what is Art Nouveau? It’s “Fluidness, curvy, intricate, decorative, flowery.” (www.youtube.com, 2011) says Spencer Thompson. There were a lot of natural elements incorporated into Art Nouveau pieces – it was a decorative statement - a protest against the mass producing, industrial revolution. In this movement ‘decorative’ is the operative adjective. Art Deco had similar aims and visual aspects – decoration through elegance, shapes and imagery. However, the difference here is that Art Nouveau was a reaction. Art Deco was an observation and glorification, borrowing mainly from its design hero Art Nouveau, twisting it with its own character for a literal but exaggerated representation of modern society. But there was one more design style culprit that created the shadow that Art Deco could light – Avant Garde.

    Vam.co.uk states that Avant Garde was “The new visual language, colour and iconography” (www.vam.co.uk, 2003). Its geometric abstract and visually fragmented vocabulary placed the foundation for Art Deco to colour. As a design style that was also a combination of forerunner styles, Avant Garde was a statement of dynamic modernism. It was this statement and this ideology alone that inspired the young Art Deco. Think of Avant Garde as the dotted lines that Art Deco could connect, followed by colouring in between those influenced lines with Nouveau’s colourful, decorative palette – the result is Art Deco, a movement which took from the past, to create the new.

       So, Art Deco was a natural evolution of various styles and cultures. It progressed onwards with a little artistic and social assistance to define a new generation. It then then witnessed another milestone – The Great Depression - the milestone that forced Art Deco into hiding. But, in this wane, it left Art Nouveau’s and Avant Garde’s influential shadows to stand its own spotlight. It placed the full stop at the end of its story, leaving behind its legacy - a legacy that influenced others. Now, in the present day, Art Deco has come full circle. It “is enjoying a substantial revival of interest” (Eva Weber, E. W. (2003) Art Deco.  JG Press.)

ART DECO TODAY

          Mass production in the mid-20^th century forced Art Deco into the industrial revolution’s aftermath, to be left in the dark with only temporary threads of light to highlight its parts. Now, in the 21^st century, its legacy still remains as a whole, but its book seemingly remains closed, waiting for a new chapter to be written. These threads of light remain within the various examples of aging, but lasting architecture, fashion and furniture. However, there are still enthusiasts out there that believe that Art Deco’s heritage and legacy are as important now, as they were in the early 20^th century. Art Deco Society of Boston is one of such governments. The society’s goal “is the preservation of our Art Deco and Modern architectural heritage.” (www.bostonartdeco.com, 2009). And with Art Deco’s remnants aging every day, the society aims to preserve key locations and works that symbolise its legacy. But even within this desperate grasp on Art Deco’s legacy, it still makes itself known around the world. The Midlands Hotel and the Chrysler Building are examples already discussed, but Art Deco hides within the cracks today’s influences forget to polish over with its ignorance. It was said that Art Deco featured heavily in theatres, this has not changed. The Cineworld Cinema is one the most popular cinemas in the UK. The photo to the right, taken in Didsbury, is one of the many identical screens around the many identical cinemas in the UK. Look closely, with purpose, and instantly seen, is the sunburst motif created by the use of light and shadow - in this case it is actually used to present light rather than to represent an ideology or symbol like the Chrysler Building succeeded in doing with its sunburst motif peak as if to say "Look at this, look at what our country has accomplished". This Cineworld in Didsbury, like many others around the country, simply used it for effect - understandable considering its magnificent effect. 

CONCLUSION

          Art Deco started as a conceptual vision, inspired by what came before it, adopting various iconic aspects of various ideologies, visual directions and historical designs. It took its journey, developing and blossoming with a little help from exhibitions, influential designers, ambitious societies and even pop culture. In the end, it reached its apex during the two wars, lost its relevant energy, and waned through an evolution, time and events. However, in its partial demise, remained its legacy – a legacy that influenced the future, leaving a lasting impression and artefacts to artistically cherish. Replacing it, were new interpretations of modern society and new visions of the future - movements such as Futurism and Memphis, which are more relatable to today. However, without Art Nouveau, Avant Garde, Cubism and Modernism, today’s predecessor movements wouldn’t exist, nailing Art Deco’s legacy to our history. Satisfying and approving its primary goal – to borrow “from virtually all the design stars of the past in order to fashion the future” (www.youtube.com, 2010). This statement remained core to the movement Art Deco, proving that although flawed in its bias towards the rich, Art Deco was a milestone in the arts.

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