DOI issue:
No. 225 (December 1911)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.21155#0250
Studio-Talk
i
DINING-ROOM BY PAUL FOLLOT
of the artists of Nancy (who were working under
the kindly initiative of Galle) and the introduction
into France of the works of Morris and the other
great English decorators aroused the interest of
artists and incited craftsmen and decorators to new
and original efforts. Special sections were formed
in the Salons; artists already famous, such as Cazin,
Delaherche, or Bracquemond, made excursions into
the regions of decorative art, and at the same time
new men of talent began to come forward, such
as Plumet, Selmersheim, Dammouse, Bigot, Prouve,
and many others.
Unfortunately during the following years the
Modern style (what we might call l'Art Nouveau)
to some extent perverted the taste of the public
and paralysed the efforts of sincere artists. Little
by little this " modern style " has fallen into dis-
favour, and gradually after two or three years a
different style has arisen and is slowly taking
form. It is not, as was the "modern style," a re-
volutionary mode, still less is it a copy of English
work; it is a style at once original and yet con-
nected in a logical manner, but without imitation,
with old designs, while adapting itself to the needs
and the testhetic canons of modern life.
228
Such, then, are the characteristics of the style
which is gradually being created and which has
expressed its ideals in various manifestations—at
the Salon des Artistes decorateurs, in special
sections in the Spring Salons, and more recently in
the Salon d'Automne of this year. Here we had
an extremely interesting exhibition; and one in
which not only were single examples of work
shown, but entire rooms elaborately and quite
completely arranged, where one might study the
productions of our designers and craftsmen.
The greatest achievements in this Salon were
undoubtedly those of M. Dufrene and M. Foilot,
two artists both still young in years and full of
initiative and energy, respectful of tradition, but
nevertheless convinced that our epoch needs to
create for itself its own individual and appropriate
style. M. Dufrene was responsible for four com-
plete interiors. His dining-room, which we repro-
duce, was executed in mahogany and violet wood
with walls covered with watered Cornille silk.
In style it is sober, rational, and restrained. The
design of the chairs with their high backs is very
characteristic of Maurice Dufrene. His lobby or
galerie also is equally happy in conception, as may
i
DINING-ROOM BY PAUL FOLLOT
of the artists of Nancy (who were working under
the kindly initiative of Galle) and the introduction
into France of the works of Morris and the other
great English decorators aroused the interest of
artists and incited craftsmen and decorators to new
and original efforts. Special sections were formed
in the Salons; artists already famous, such as Cazin,
Delaherche, or Bracquemond, made excursions into
the regions of decorative art, and at the same time
new men of talent began to come forward, such
as Plumet, Selmersheim, Dammouse, Bigot, Prouve,
and many others.
Unfortunately during the following years the
Modern style (what we might call l'Art Nouveau)
to some extent perverted the taste of the public
and paralysed the efforts of sincere artists. Little
by little this " modern style " has fallen into dis-
favour, and gradually after two or three years a
different style has arisen and is slowly taking
form. It is not, as was the "modern style," a re-
volutionary mode, still less is it a copy of English
work; it is a style at once original and yet con-
nected in a logical manner, but without imitation,
with old designs, while adapting itself to the needs
and the testhetic canons of modern life.
228
Such, then, are the characteristics of the style
which is gradually being created and which has
expressed its ideals in various manifestations—at
the Salon des Artistes decorateurs, in special
sections in the Spring Salons, and more recently in
the Salon d'Automne of this year. Here we had
an extremely interesting exhibition; and one in
which not only were single examples of work
shown, but entire rooms elaborately and quite
completely arranged, where one might study the
productions of our designers and craftsmen.
The greatest achievements in this Salon were
undoubtedly those of M. Dufrene and M. Foilot,
two artists both still young in years and full of
initiative and energy, respectful of tradition, but
nevertheless convinced that our epoch needs to
create for itself its own individual and appropriate
style. M. Dufrene was responsible for four com-
plete interiors. His dining-room, which we repro-
duce, was executed in mahogany and violet wood
with walls covered with watered Cornille silk.
In style it is sober, rational, and restrained. The
design of the chairs with their high backs is very
characteristic of Maurice Dufrene. His lobby or
galerie also is equally happy in conception, as may