International studio (82.1925)

inCGRHAClOnAL

The Exposition in 'Paris: Part II

/t is an aesthetic truism Decorative arts displayed bain, furniture represent-
that everything arising illustrate resemblance of inS neSro sculpture, mon-
from a given period has ^ arcn^ecture and keyskin bedspreads and
a family resemblance, lhe -± r -± glass walls. 1 he American

, ■ i , its furniture r t , , • f

things we make because we manulacturer looking for
need them and the things Helen 'Appleton "Tvecicl something modern French
we make because they sat- to incorporate in his new
isfy our sense of beauty, all are expression of the line can hardly be blamed if he does not feel right
times we live in. The history of decoration tells in recommending to the little bride, bent on fur-
us that architecture and furniture making have nishing her apartment in the newest thing, back-
been especially closely related. If furniture, be- grounds which would awaken dreams of Baude-
cause it must wait for its architectural back- laire or Guy De Maupassant. And the tradition-
grounds, is a later development. We know that alist, who with George Moore believes that old
Adam turned cabinet-maker in order to have furniture is the only possible sort for sensitive
furniture in harmony people to live with,

with the classical back-
grounds he designed,
and that gothic fur-
niture was merely in
smaller form the mo-
tives of the gothic edi-
fice. So the furniture
of the modern move-
ment reflects the prin-
ciples demonstrated in
the modern architec-
ture: simplicity of out-
line, no ornament, the
interest depending up-
on the quality of the
material, intricate
marquetry or painted
design.

The exotic and the
ultra are perhaps over-
stressed in the furni-
ture and displays of
interior decoration. It

and the hide bound
exponent of twin beds,
sleeping porches and
steel office furniture
are equally doubtful
about the Exposition's
practical or aesthetic
value.

But to the man
with an open mind, to
whom any serious ex-
pression demands seri-
ous consideration, to
whom any new expres-
sion in the arts is an
adventure in aesthetic
appreciation, the new
decor stirs the imag-
ination and offers
sound principles of
decoration. He looks
beyond the pomp and
panoply of display,

must be remembered, silver grille in edgar brandt section the exotic, the mac-

however, that this is abre and the bizarre

an exposition and a French one at that; and that it with which even the greatest of the designers loves

is only natural for the Frenchman with his love of to dress up his work, for the fundamental note,

display to dress up and upholster his ideas. Also the unifying principle, and finds it sound and sane,

the dictum to "be different and modern" brought Moreover, it is only in the works of the artist de-

with it the inevitable corollary of the freakish and signers that we must look for this note. Men such

the faddish. This is especially so in the case of the as Sue ct Mare, Rulman, Jallot, Brandt, Janin,

manufacturers, who without a spark of real crea- are some of those whose art will carry on the

tive genius have nevertheless gone about designing tradition of the new decor. It is they who will

chairs and tables in what they believed to be the kindle the imagination of the craftsmen who follow

modern spirit. It has been carried to an ad ab- and so crystalize a style, just as Adam and

surdum degree as, for example, sharkskin furni- Buhle pointed the way for the countless copyists

ture, macabre bedroom schemes in violet blacks who adapted their designs.

and blueish purples, jade and jeweled salons de Economically the new designs are of value for

one sixty

DECEMBER [ I) 2 5