DOI Heft:
Division III: France
DOI Artikel:Segard, Achille: French architecture and decoration
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19999#0249
FRENCH ARCHITECTURE AND DECORATION
obtained great success. His work proves that the happy combination
of lines and forms can be independent of cost, and that a piece of
furniture can be beautiful with much moderation of ornament.
The readers of The Studio are already well acquainted with the
ever exquisite art of M. de Feure, with whom M. Maurice
Dufrene is worthy of comparison, by reason of the grace and charm
of his compositions and his facile workmanship. Both artists have
produced an extraordinary quantity of work.
M. Dufrene (F 2 to 4, 12 to 14, 31, 32 and 39), who is the
younger, was one of the chief collaborators in the " Maison
Moderne," founded by M. Meyergraef, and which, after a brilliant
period, came to a lamentable end, owing to the public's indifference.
Among the designers, to whom we are indebted for some
extremely curious objects of art, we have M. Baffler and M.
Alexandre Charpentier. M. Charpentier had a share, in 1896, in
the glorious little " Exposition des Cinq," which he founded in
conjunction with M. Felix Aubert (designer of admirable hangings),
M. Dampt, M. Henri Nocq, and M. Charles Plumet. Also we
have M. Carabin, the highly gifted wood-carver, who was one of
the first to exhibit pieces of furniture freed from the servitude of
"styles." Everyone is familiar with his "Galliera" vitrine, supported
by admirably executed female figures, but not everyone knows that
Parisian amateurs possess many other remarkable works by him.
Of the architects, the work of M. Charles Plumet is worthy of
conscientious study. He was one of the first—if not the first—to
erect in Paris buildings entirely free from imitation of styles, and
withal sober, logical, and elegant. The house in the Avenue
Malakoff (F 1) is interesting, and what is new and ingenious in the
construction is worthy of attention. It is conceivable that the gallery
seen in in our illustration of his interior (F 9) may become one of
the fixed characteristics of the modern style. M. Sorel has obtained
a fine effect in this way in his admirable house in the Rue de Tasse
—the most beautiful which has been built since M. Plumet led the
way—and others will doubtless adopt it.
M. Chedanne, both in France and abroad, has designed vast
buildings, notable for their good proportions and happy inventiveness.
Then again, there are M. Bonnier, who often gives us work of the
highest order, the brothers Perret, M. Binet, M. Breffendille,
M. Sauvage (designer of many very interesting interiors), M.
Rene Dulong, M. Cordonnier, M. Genuys, M. Bluysen, M.
Herrscher, M. Tony Gamier, MM. Barbot and Bauhain, M. Storez,
M. Frantz Jourdain, and many others. The fancy, the imprevu and
the superabundant imagination of M. Hector Guimard cause him
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obtained great success. His work proves that the happy combination
of lines and forms can be independent of cost, and that a piece of
furniture can be beautiful with much moderation of ornament.
The readers of The Studio are already well acquainted with the
ever exquisite art of M. de Feure, with whom M. Maurice
Dufrene is worthy of comparison, by reason of the grace and charm
of his compositions and his facile workmanship. Both artists have
produced an extraordinary quantity of work.
M. Dufrene (F 2 to 4, 12 to 14, 31, 32 and 39), who is the
younger, was one of the chief collaborators in the " Maison
Moderne," founded by M. Meyergraef, and which, after a brilliant
period, came to a lamentable end, owing to the public's indifference.
Among the designers, to whom we are indebted for some
extremely curious objects of art, we have M. Baffler and M.
Alexandre Charpentier. M. Charpentier had a share, in 1896, in
the glorious little " Exposition des Cinq," which he founded in
conjunction with M. Felix Aubert (designer of admirable hangings),
M. Dampt, M. Henri Nocq, and M. Charles Plumet. Also we
have M. Carabin, the highly gifted wood-carver, who was one of
the first to exhibit pieces of furniture freed from the servitude of
"styles." Everyone is familiar with his "Galliera" vitrine, supported
by admirably executed female figures, but not everyone knows that
Parisian amateurs possess many other remarkable works by him.
Of the architects, the work of M. Charles Plumet is worthy of
conscientious study. He was one of the first—if not the first—to
erect in Paris buildings entirely free from imitation of styles, and
withal sober, logical, and elegant. The house in the Avenue
Malakoff (F 1) is interesting, and what is new and ingenious in the
construction is worthy of attention. It is conceivable that the gallery
seen in in our illustration of his interior (F 9) may become one of
the fixed characteristics of the modern style. M. Sorel has obtained
a fine effect in this way in his admirable house in the Rue de Tasse
—the most beautiful which has been built since M. Plumet led the
way—and others will doubtless adopt it.
M. Chedanne, both in France and abroad, has designed vast
buildings, notable for their good proportions and happy inventiveness.
Then again, there are M. Bonnier, who often gives us work of the
highest order, the brothers Perret, M. Binet, M. Breffendille,
M. Sauvage (designer of many very interesting interiors), M.
Rene Dulong, M. Cordonnier, M. Genuys, M. Bluysen, M.
Herrscher, M. Tony Gamier, MM. Barbot and Bauhain, M. Storez,
M. Frantz Jourdain, and many others. The fancy, the imprevu and
the superabundant imagination of M. Hector Guimard cause him
xl