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151-632: The Lark Theater is a single-screen Art Deco cinema in Larkspur, California , United States. The Lark Theater was built by the Blumenfeld family in 1936, over a horse-shoe pit. It anchors the North End of Larkspur 's historic downtown district, and is designated a Larkspur Heritage Building. It is a contributing structure in the Larkspur Downtown Historic District , which is listed on

302-820: A 20th-century adaptation of a classical subject. Other important works for Rockefeller Center were made by Lee Lawrie , including the sculptural façade and the Atlas statue . During the Great Depression in the United States, many sculptors were commissioned to make works for the decoration of federal government buildings, with funds provided by the WPA, or Works Progress Administration . They included sculptor Sidney Biehler Waugh, who created stylized and idealized images of workers and their tasks for federal government office buildings. In San Francisco, Ralph Stackpole provided sculpture for

453-605: A broadly applied stylistic label in 1968 when historian Bevis Hillier published the first major academic book on it, Art Deco of the 20s and 30s . He noted that the term was already being used by art dealers, and cites The Times (2 November 1966) and an essay named Les Arts Déco in Elle magazine (November 1967) as examples. In 1971, he organized an exhibition at the Minneapolis Institute of Arts , which he details in his book The World of Art Deco . In its time, Art Deco

604-531: A departure from) the undulating Art Nouveau style of Hector Guimard , so popular in Paris a few years earlier. Grasset stressed the principle that various simple geometric shapes like triangles and squares are the basis of all compositional arrangements. The reinforced-concrete buildings of Auguste Perret and Henri Sauvage, and particularly the Théâtre des Champs-Élysées , offered a new form of construction and decoration which

755-477: A floral chair with a parrot design for the hunting lodge of art collector Jacques Doucet . The furniture designers Louis Süe and André Mare made their first appearance at the 1912 exhibit, under the name of the Atelier français , combining polychromatic fabrics with exotic and expensive materials, including ebony and ivory. After World War I, they became one of the most prominent French interior design firms, producing

906-520: A gauge against which such diverse tendencies as Realism or Naturalism , Dada , Surrealism and abstraction could be compared. Japan and China were among the first countries in Asia to be influenced by Cubism. Contact first occurred via European texts translated and published in Japanese art journals in the 1910s. In the 1920s, Japanese and Chinese artists who studied in Paris, for example those enrolled at

1057-413: A genre or style in art with a specific common philosophy or goal. A significant modification of Cubism between 1914 and 1916 was signaled by a shift towards a strong emphasis on large overlapping geometric planes and flat surface activity. This grouping of styles of painting and sculpture, especially significant between 1917 and 1920, was practiced by several artists; particularly those under contract with

1208-468: A modernist look. At its birth between 1910 and 1914, Art Deco was an explosion of colours, featuring bright and often clashing hues, frequently in floral designs, presented in furniture upholstery , carpets, screens, wallpaper and fabrics. Many colourful works, including chairs and a table by Maurice Dufrêne and a bright Gobelin carpet by Paul Follot were presented at the 1912 Salon des artistes décorateurs . In 1912–1913 designer Adrien Karbowsky made

1359-715: A much broader ideological transformation towards conservatism in both French society and French culture . The most innovative period of Cubism was before 1914. After World War I, with the support given by the dealer Léonce Rosenberg , Cubism returned as a central issue for artists, and continued as such until the mid-1920s when its avant-garde status was rendered questionable by the emergence of geometric abstraction and Surrealism in Paris . Many Cubists, including Picasso, Braque, Gris, Léger, Gleizes, Metzinger and Emilio Pettoruti while developing other styles, returned periodically to Cubism, even well after 1925. Cubism reemerged during

1510-419: A new "pure" painting in which the subject was vacated. But in spite of his use of the term Orphism these works were so different that they defy attempts to place them in a single category. Also labeled an Orphist by Apollinaire, Marcel Duchamp was responsible for another extreme development inspired by Cubism. The ready-made arose from a joint consideration that the work itself is considered an object (just as

1661-497: A new addition to the Salon scene, exhibited his Portrait of Picasso (Art Institute of Chicago), while Metzinger's two showings included La Femme au Cheval ( Woman with a horse , 1911–1912, National Gallery of Denmark ). Delaunay's monumental La Ville de Paris (Musée d'art moderne de la Ville de Paris) and Léger's La Noce ( The Wedding , Musée National d'Art Moderne, Paris), were also exhibited. In 1912, Galeries Dalmau presented

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1812-520: A new style caused rapid changes in art across France, Germany, The Netherlands, Italy, and Russia. The Impressionists had used a double point of view, and both Les Nabis and the Symbolists (who also admired Cézanne) flattened the picture plane, reducing their subjects to simple geometric forms. Neo-Impressionist structure and subject matter, most notably to be seen in the works of Georges Seurat (e.g., Parade de Cirque , Le Chahut and Le Cirque ),

1963-458: A painting by Jean Dupas . The interior design followed the same principles of symmetry and geometric forms which set it apart from Art Nouveau, and bright colours, fine craftsmanship rare and expensive materials which set it apart from the strict functionality of the Modernist style. While most of the pavilions were lavishly decorated and filled with hand-made luxury furniture, two pavilions, those of

2114-522: A painting), and that it uses the material detritus of the world (as collage and papier collé in the Cubist construction and Assemblage). The next logical step, for Duchamp, was to present an ordinary object as a self-sufficient work of art representing only itself. In 1913 he attached a bicycle wheel to a kitchen stool and in 1914 selected a bottle-drying rack as a sculpture in its own right. The Section d'Or , also known as Groupe de Puteaux , founded by some of

2265-399: A part in the resurgence of decorative arts, as French designers felt challenged by the increasing exports of less expensive German furnishings. In 1911, SAD proposed a major new international exposition of decorative arts in 1912. No copies of old styles would be permitted, only modern works. The exhibit was postponed until 1914; and then, because of the war, until 1925, when it gave its name to

2416-486: A purely formal frame of reference. Crystal Cubism, and its associative rappel à l'ordre , has been linked with an inclination—by those who served the armed forces and by those who remained in the civilian sector—to escape the realities of the Great War, both during and directly following the conflict. The purifying of Cubism from 1914 through the mid-1920s, with its cohesive unity and voluntary constraints, has been linked to

2567-652: A screening of the 1949 film noir classic Impact , which was partially shot in Larkspur. The seating capacity was reduced to 205 seats (down from 400). Since that time, the Lark has offered cultural programming which includes first-run, independent and classic film, an annual Youth Film Festival, live broadcasts of events of civic interest such as the Presidential debates and inauguration, fundraisers for local schools and non-profits, panel discussions and live music. In November, 2012,

2718-528: A secondary or satellite role in Cubism is a profound mistake." The history of the term "Cubism" usually stresses the fact that Matisse referred to "cubes" in connection with a painting by Braque in 1908, and that the term was published twice by the critic Louis Vauxcelles in a similar context. However, the word "cube" was used in 1906 by another critic, Louis Chassevent, with reference not to Picasso or Braque but rather to Metzinger and Delaunay: The critical use of

2869-626: A series entitled Formes Circulaires , in which he combined planar structures with bright prismatic hues; based on the optical characteristics of juxtaposed colors his departure from reality in the depiction of imagery was quasi-complete. In 1913–14 Léger produced a series entitled Contrasts of Forms , giving a similar stress to color, line and form. His Cubism, despite its abstract qualities, was associated with themes of mechanization and modern life. Apollinaire supported these early developments of abstract Cubism in Les Peintres cubistes (1913), writing of

3020-587: A style which flourished in Europe between 1895 and 1900, and coexisted with the Beaux-Arts and neoclassical that were predominant in European and American architecture. In 1905 Eugène Grasset wrote and published Méthode de Composition Ornementale, Éléments Rectilignes, in which he systematically explored the decorative (ornamental) aspects of geometric elements, forms, motifs and their variations, in contrast with (and as

3171-527: A time when both artists had recently acquired an interest in primitivism , Iberian sculpture, African art and African tribal masks . They became friendly rivals and competed with each other throughout their careers, perhaps leading to Picasso entering a new period in his work by 1907, marked by the influence of Greek, Iberian and African art. Picasso's paintings of 1907 have been characterized as Protocubism , as notably seen in Les Demoiselles d'Avignon ,

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3322-400: A wide audience. Over 200 works were displayed, and the fact that many of the artists showed artworks representative of their development from 1909 to 1912 gave the exhibition the allure of a Cubist retrospective. The group seems to have adopted the name Section d'Or to distinguish themselves from the narrower definition of Cubism developed in parallel by Pablo Picasso and Georges Braque in

3473-409: A wide ideological shift towards conservatism in both French society and culture. Yet, Cubism itself remained evolutionary both within the oeuvre of individual artists, such as Gris and Metzinger, and across the work of artists as different from each other as Braque, Léger and Gleizes. Cubism as a publicly debated movement became relatively unified and open to definition. Its theoretical purity made it

3624-646: Is Tamara de Lempicka . Born in Poland, she emigrated to Paris after the Russian Revolution . She studied under Maurice Denis and André Lhote , and borrowed many elements from their styles. She painted portraits in a realistic, dynamic and colourful Art Deco style. In the 1930s, a dramatic new form of Art Deco painting appeared in the United States. During the Great Depression, the Federal Art Project of

3775-613: Is a style of visual arts, architecture , and product design , that first appeared in Paris in the 1910s (just before World War I ), and flourished in the United States and Europe during the 1920s to early 1930s. Through styling and design of the exterior and interior of anything from large structures to small objects, including how people look (clothing, fashion, and jewelry), Art Deco has influenced bridges, buildings (from skyscrapers to cinemas), ships, ocean liners , trains, cars, trucks, buses, furniture, and everyday objects including radios and vacuum cleaners. Art Deco got its name after

3926-415: Is difficult to apply to painters such as Jean Metzinger , Albert Gleizes, Robert Delaunay and Henri Le Fauconnier , whose fundamental differences from traditional Cubism compelled Kahnweiler to question whether to call them Cubists at all. According to Daniel Robbins , "To suggest that merely because these artists developed differently or varied from the traditional pattern they deserved to be relegated to

4077-525: Is not yet Cubist. The disruptive, expressionist element in it is even contrary to the spirit of Cubism, which looked at the world in a detached, realistic spirit. Nevertheless, the Demoiselles is the logical picture to take as the starting point for Cubism, because it marks the birth of a new pictorial idiom, because in it Picasso violently overturned established conventions and because all that followed grew out of it." The most serious objection to regarding

4228-510: Is pushed to a high degree of complexity in Metzinger's Nu à la cheminée , exhibited at the 1910 Salon d'Automne; Gleizes' monumental Le Dépiquage des Moissons (Harvest Threshing) , exhibited at the 1912 Salon de la Section d'Or; Le Fauconnier's Abundance shown at the Indépendants of 1911; and Delaunay's City of Paris , exhibited at the Indépendants in 1912. These ambitious works are some of

4379-734: Is the Christ the Redeemer by the French sculptor Paul Landowski , completed between 1922 and 1931, located on a mountain top overlooking Rio de Janeiro , Brazil. Many early Art Deco sculptures were small, designed to decorate salons. One genre of this sculpture was called the Chryselephantine statuette, named for a style of ancient Greek temple statues made of gold and ivory. They were sometimes made of bronze, or sometimes with much more lavish materials, such as ivory, onyx , alabaster, and gold leaf. One of

4530-412: The Demoiselles as the origin of Cubism, with its evident influence of primitive art, is that "such deductions are unhistorical", wrote the art historian Daniel Robbins . This familiar explanation "fails to give adequate consideration to the complexities of a flourishing art that existed just before and during the period when Picasso's new painting developed." Between 1905 and 1908, a conscious search for

4681-482: The Empire State Building , Chrysler Building , and other buildings from the 1920s and 1930s are monuments to the style. In the 1930s, during the Great Depression , Art Deco gradually became more subdued. A sleeker form of the style, called Streamline Moderne , appeared in the 1930s, featuring curving forms and smooth, polished surfaces. Art Deco was a truly international style, but its dominance ended with

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4832-503: The Montmartre quarter of Paris, and to show that Cubism, rather than being an isolated art-form, represented the continuation of a grand tradition (indeed, the golden ratio had fascinated Western intellectuals of diverse interests for at least 2,400 years). The idea of the Section d'Or originated in the course of conversations between Metzinger, Gleizes and Jacques Villon. The group's title

4983-524: The Musée d'Orsay in Paris. Parallel with these Art Deco sculptors, more avant-garde and abstract modernist sculptors were at work in Paris and New York City. The most prominent were Constantin Brâncuși , Joseph Csaky , Alexander Archipenko , Henri Laurens , Jacques Lipchitz , Gustave Miklos , Jean Lambert-Rucki , Jan et Joël Martel , Chana Orloff and Pablo Gargallo . The Art Deco style appeared early in

5134-687: The National Register of Historic Places . The Lark was designed by architect William B. David, who began his career in the firm of S. Charles Lee and went on to design many Northern California cinemas of the period, including the Lark's sister theaters the Park , in Lafayette, California , and the Noyo in Willits, California . It may not be a coincidence that all three structures used four-letter names that fit neatly above

5285-583: The Surrealist movement gained popularity. English art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch . According to Cooper there was "Early Cubism", (from 1906 to 1908) when the movement was initially developed in the studios of Picasso and Braque; the second phase being called "High Cubism", (from 1909 to 1914) during which time Juan Gris emerged as an important exponent (after 1911); and finally Cooper referred to "Late Cubism" (from 1914 to 1921) as

5436-484: The Works Progress Administration was created to give work to unemployed artists. Many were given the task of decorating government buildings, hospitals and schools. There was no specific Art Deco style used in the murals; artists engaged to paint murals in government buildings came from many different schools, from American regionalism to social realism ; they included Reginald Marsh , Rockwell Kent and

5587-411: The antecedent of Cubism. Art historian Douglas Cooper says Paul Gauguin and Paul Cézanne "were particularly influential to the formation of Cubism and especially important to the paintings of Picasso during 1906 and 1907". Cooper goes on to say: "The Demoiselles is generally referred to as the first Cubist picture. This is an exaggeration, for although it was a major first step towards Cubism it

5738-531: The boulevard du Montparnasse . These soirées often included writers such as Guillaume Apollinaire and André Salmon . Together with other young artists, the group wanted to emphasise a research into form, in opposition to the Neo-Impressionist emphasis on color. Louis Vauxcelles, in his review of the 26th Salon des Indépendants (1910), made a passing and imprecise reference to Metzinger, Gleizes, Delaunay, Léger and Le Fauconnier as "ignorant geometers, reducing

5889-469: The École nationale supérieure des Beaux-Arts , brought back with them both an understanding of modern art movements, including Cubism. Notable works exhibiting Cubist qualities were Tetsugorō Yorozu 's Self Portrait with Red Eyes (1912) and Fang Ganmin 's Melody in Autumn (1934). The Cubism of Picasso and Braque had more than a technical or formal significance, and the distinct attitudes and intentions of

6040-430: The École royale gratuite de dessin (Royal Free School of Design), founded in 1766 under King Louis XVI to train artists and artisans in crafts relating to the fine arts, was renamed the École nationale des arts décoratifs ( National School of Decorative Arts). It took its present name, ENSAD ( École nationale supérieure des arts décoratifs ), in 1920.. The actual term art déco did not appear in print until 1966, in

6191-812: The "Salle 41" artists, e.g., Francis Picabia ; the brothers Jacques Villon , Raymond Duchamp-Villon and Marcel Duchamp , who beginning in late 1911 formed the core of the Section d'Or (or the Puteaux Group ); the sculptors Alexander Archipenko , Joseph Csaky and Ossip Zadkine as well as Jacques Lipchitz and Henri Laurens ; and painters such as Louis Marcoussis , Roger de La Fresnaye , František Kupka , Diego Rivera , Léopold Survage , Auguste Herbin , André Lhote , Gino Severini (after 1916), María Blanchard (after 1916) and Georges Valmier (after 1918). More fundamentally, Christopher Green argues that Douglas Cooper's terms were "later undermined by interpretations of

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6342-546: The 1905 and 1906 Salon d'Automne , followed by two commemorative retrospectives after his death in 1907. In France, offshoots of Cubism developed, including Orphism , abstract art and later Purism . The impact of Cubism was far-reaching and wide-ranging in the arts and in popular culture. Cubism introduced collage as a modern art form. In France and other countries Futurism , Suprematism , Dada , Constructivism , De Stijl and Art Deco developed in response to Cubism. Early Futurist paintings hold in common with Cubism

6493-545: The 1911 Salon des Indépendants and the 1912 Salon d'Automne in Paris). Clarifying their aims as artists, this work was the first theoretical treatise on Cubism and it still remains the clearest and most intelligible. The result, not solely a collaboration between its two authors, reflected discussions by the circle of artists who met in Puteaux and Courbevoie . It mirrored the attitudes of the "artists of Passy", which included Picabia and

6644-568: The 1911 Salon. The article was titled The "Cubists" Dominate Paris' Fall Salon and subtitled Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition – What Its Followers Attempt to Do. Among all the paintings on exhibition at the Paris Fall Salon none is attracting so much attention as the extraordinary productions of the so-called "Cubist" school. In fact, dispatches from Paris suggest these works are easily

6795-483: The 1911 and 1912 Salons extended beyond the conventional Cézanne-like subjects—the posed model, still-life and landscape—favored by Picasso and Braque to include large-scale modern-life subjects. Aimed at a large public, these works stressed the use of multiple perspective and complex planar faceting for expressive effect while preserving the eloquence of subjects endowed with literary and philosophical connotations. In Du "Cubisme" Metzinger and Gleizes explicitly related

6946-891: The 1912 Salon d'Automne was entrusted to the department store Printemps , and that year it created its own workshop, Primavera . By 1920 Primavera employed more than 300 artists, whose styles ranged from updated versions of Louis XIV , Louis XVI , and especially Louis Philippe furniture made by Louis Süe and the Primavera workshop, to more modern forms from the workshop of the Au Louvre department store. Other designers, including Émile-Jacques Ruhlmann and Paul Follot, refused to use mass production, insisting that each piece be made individually. The early Art Deco style featured luxurious and exotic materials such as ebony , ivory and silk, very bright colours and stylized motifs , particularly baskets and bouquets of flowers of all colours, giving

7097-422: The 1912 Salon d'Automne, Amorpha-Fugue à deux couleurs and Amorpha chromatique chaude , were highly abstract (or nonrepresentational) and metaphysical in orientation. Both Duchamp in 1912 and Picabia from 1912 to 1914 developed an expressive and allusive abstraction dedicated to complex emotional and sexual themes. Beginning in 1912 Delaunay painted a series of paintings entitled Simultaneous Windows , followed by

7248-426: The 1912 exhibition had been curated to show the successive stages through which Cubism had transited, and that Du "Cubisme" had been published for the occasion, indicates the artists' intention of making their work comprehensible to a wide audience (art critics, art collectors, art dealers and the general public). Undoubtedly, due to the great success of the exhibition, Cubism became avant-garde movement recognized as

7399-638: The 1920s and the 1930s in the work of the American Stuart Davis and the Englishman Ben Nicholson . In France, however, Cubism experienced a decline beginning in about 1925. Léonce Rosenberg exhibited not only the artists stranded by Kahnweiler's exile but others including Laurens, Lipchitz, Metzinger, Gleizes, Csaky, Herbin and Severini. In 1918 Rosenberg presented a series of Cubist exhibitions at his Galerie de l’Effort Moderne in Paris. Attempts were made by Louis Vauxcelles to argue that Cubism

7550-424: The 1920s, the look changed; the fashions stressed were more casual, sportive and daring, with the woman models usually smoking cigarettes. American fashion magazines such as Vogue , Vanity Fair and Harper's Bazaar quickly picked up the new style and popularized it in the United States. It also influenced the work of American book illustrators such as Rockwell Kent. In Germany, the most famous poster artist of

7701-545: The 1920s. The art movement known as Cubism appeared in France between 1907 and 1912, influencing the development of Art Deco. In Art Deco Complete: The Definitive Guide to the Decorative Arts of the 1920s and 1930s Alastair Duncan writes "Cubism, in some bastardized form or other, became the lingua franca of the era's decorative artists." The Cubists, themselves under the influence of Paul Cézanne , were interested in

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7852-415: The 1920s. Art Deco's development of Cubism's selective geometry into a wider array of shapes carried Cubism as a pictorial taxonomy to a much broader audience and wider appeal. (Richard Harrison Martin, Metropolitan Museum of Art) Art Deco was not a single style, but a collection of different and sometimes contradictory styles. In architecture, Art Deco was the successor to (and reaction against) Art Nouveau,

8003-903: The 1925 Exposition internationale des arts décoratifs et industriels modernes ( International Exhibition of Modern Decorative and Industrial Arts ) held in Paris . Art Deco has its origins in bold geometric forms of the Vienna Secession and Cubism . From its outset, it was influenced by the bright colors of Fauvism and of the Ballets Russes , and the exoticized styles of art from China , Japan , India , Persia , ancient Egypt , and Maya . During its heyday, Art Deco represented luxury, glamour, exuberance and faith in social and technological progress. The movement featured rare and expensive materials, such as ebony and ivory, and exquisite craftsmanship. It also introduced new materials such as chrome plating , stainless steel and plastic. In New York,

8154-524: The 19th century were considered simply artisans. The term arts décoratifs had been invented in 1875 , giving the designers of furniture, textiles, and other decoration official status. The Société des artistes décorateurs (Society of Decorative Artists), or SAD, was founded in 1901, and decorative artists were given the same rights of authorship as painters and sculptors. A similar movement developed in Italy. The first international exhibition devoted entirely to

8305-633: The Art Deco aesthetic, when transposed from the canvas onto a textile material or wallpaper. Sonia Delaunay conceives her dress models in an abstract and geometric style, "as live paintings or sculptures of living forms". Cubist-like designs are created by Louis Barrilet in the stained-glass windows of the American bar at the Atrium Casino in Dax (1926), but also including names of fashionable cocktails. In architecture,

8456-512: The Crossroads (1933) for 30 Rockefeller Plaza featured an unauthorized portrait of Lenin . When Rivera refused to remove Lenin, the painting was destroyed and a new mural was painted by the Spanish artist Josep Maria Sert . Sculpture was a very common and integral feature of Art Deco architecture. In France, allegorical bas-reliefs representing dance and music by Antoine Bourdelle decorated

8607-610: The Cubist depiction of space, mass, time, and volume supports (rather than contradicts) the flatness of the canvas was made by Daniel-Henry Kahnweiler as early as 1920, but it was subject to criticism in the 1950s and 1960s, especially by Clement Greenberg . Contemporary views of Cubism are complex, formed to some extent in response to the "Salle 41" Cubists, whose methods were too distinct from those of Picasso and Braque to be considered merely secondary to them. Alternative interpretations of Cubism have therefore developed. Wider views of Cubism include artists who were later associated with

8758-464: The Cubists. The 1912 manifesto Du "Cubisme" by Metzinger and Gleizes was followed in 1913 by Les Peintres Cubistes , a collection of reflections and commentaries by Guillaume Apollinaire. Apollinaire had been closely involved with Picasso beginning in 1905, and Braque beginning in 1907, but gave as much attention to artists such as Metzinger, Gleizes, Delaunay, Picabia, and Duchamp. The fact that

8909-515: The Duchamp brothers, to whom sections of it were read prior to publication. The concept developed in Du "Cubisme" of observing a subject from different points in space and time simultaneously, i.e., the act of moving around an object to seize it from several successive angles fused into a single image (multiple viewpoints, mobile perspective, simultaneity or multiplicity), is a generally recognized device used by

9060-689: The First World War. Léger was based in Montparnasse. In contrast, the Salon Cubists built their reputation primarily by exhibiting regularly at the Salon d'Automne and the Salon des Indépendants, both major non-academic Salons in Paris. They were inevitably more aware of public response and the need to communicate. Already in 1910 a group began to form which included Metzinger, Gleizes, Delaunay and Léger. They met regularly at Henri le Fauconnier's studio near

9211-528: The Lark has been a first-run movie theater and an art-house venue. But by the late 1990s, the building was empty and in disrepair. The theater had been dark for five years, and was slated for demolition in 2003, when local residents mounted a campaign to "Save the Lark." Sufficient funds were raised to restore the theater's interior and exterior, and to do so with environmentally safe materials. Local professionals donated services and volunteers, led by co-founder and Executive Director Bernice Baeza, worked to restore

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9362-621: The Lark to its original splendor. For these efforts, the Lark Theater was awarded the 2005 Art Deco Preservation Award from the California Art Deco Society and certified as a green business by the County of Marin. Later, a successful capital campaign made it possible for the non-profit Lark Theater LLC to purchase the building. On July 9, 2004, the Lark Theater re-opened as an independent, non-profit community film and culture center with

9513-510: The Mexican painter Diego Rivera . The murals were Art Deco because they were all decorative and related to the activities in the building or city where they were painted: Reginald Marsh and Rockwell Kent both decorated U.S. postal buildings, and showed postal employees at work while Diego Rivera depicted automobile factory workers for the Detroit Institute of Arts . Diego Rivera's mural Man at

9664-578: The Municipal Council of Paris, leading to a debate in the Chambre des Députés about the use of public funds to provide the venue for such art. The Cubists were defended by the Socialist deputy, Marcel Sembat . It was against this background of public anger that Jean Metzinger and Albert Gleizes wrote Du "Cubisme" (published by Eugène Figuière in 1912, translated to English and Russian in 1913). Among

9815-519: The Salon Cubists produced different kinds of Cubism, rather than a derivative of their work. "It is by no means clear, in any case," wrote Christopher Green, "to what extent these other Cubists depended on Picasso and Braque for their development of such techniques as faceting, 'passage' and multiple perspective; they could well have arrived at such practices with little knowledge of 'true' Cubism in its early stages, guided above all by their own understanding of Cézanne." The works exhibited by these Cubists at

9966-556: The Soviet Union and Pavilion de L'Esprit Nouveau , built by the magazine of that name run by Le Corbusier, were built in an austere style with plain white walls and no decoration; they were among the earliest examples of modernist architecture . In 1925, two different competing schools coexisted within Art Deco: the traditionalists, who had founded the Society of Decorative Artists; included

10117-544: The Soviet Union, Konstantin Melnikov ; the Irish designer Eileen Gray; the French designer Sonia Delaunay; and the jewellers Georges Fouquet and Jean Puiforcat . They fiercely attacked the traditional Art Deco style, which they said was created only for the wealthy, and insisted that well-constructed buildings should be available to everyone, and that form should follow function. The beauty of an object or building resided in whether it

10268-485: The United States during the Great Depression. The Federal Art Project hired American artists to create posters to promote tourism and cultural events. The architectural style of Art Deco made its debut in Paris in 1903–04, with the construction of two apartment buildings in Paris, one by Auguste Perret on rue Benjamin Franklin and the other on rue Trétaigne by Henri Sauvage. The two young architects used reinforced concrete for

10419-507: The United States in 1929, and reached Europe shortly afterwards, greatly reduced the number of wealthy clients who could pay for the furnishings and art objects. In the Depression economic climate, few companies were ready to build new skyscrapers. Even the Ruhlmann firm resorted to producing pieces of furniture in series, rather than individual hand-made items. The last buildings built in Paris in

10570-454: The United States, where, during the World War, he designed posters to encourage war production. The designer Charles Gesmar became famous making posters for the singer Mistinguett and for Air France . Among the best-known French Art Deco poster designers was Cassandre , who made the celebrated poster of the ocean liner SS Normandie in 1935. In the 1930s a new genre of posters appeared in

10721-443: The art dealer and collector Léonce Rosenberg . The tightening of the compositions, the clarity and sense of order reflected in these works, led to its being referred to by the critic Maurice Raynal as 'crystal' Cubism. Considerations manifested by Cubists prior to the outset of World War I —such as the fourth dimension , dynamism of modern life, the occult, and Henri Bergson 's concept of duration —had now been vacated, replaced by

10872-432: The artists, by Gris, Léger and Gleizes. The occasional return to classicism—figurative work either exclusively or alongside Cubist work—experienced by many artists during this period (called Neoclassicism ) has been linked to the tendency to evade the realities of the war and also to the cultural dominance of a classical or Latin image of France during and immediately following the war. Cubism after 1918 can be seen as part of

11023-414: The association of mechanization and modern life. Scholars have divided the history of Cubism into phases. In one scheme, the first phase of Cubism, known as Analytic Cubism , a phrase coined by Juan Gris a posteriori , was both radical and influential as a short but highly significant art movement between 1910 and 1912 in France. A second phase, Synthetic Cubism , remained vital until around 1919, when

11174-454: The attention of the general public for the first time. Amongst the Cubist works presented, Robert Delaunay exhibited his Eiffel Tower, Tour Eiffel (Solomon R. Guggenheim Museum, New York). At the Salon d'Automne of the same year, in addition to the Indépendants group of Salle 41 , were exhibited works by André Lhote , Marcel Duchamp , Jacques Villon, Roger de La Fresnaye , André Dunoyer de Segonzac and František Kupka . The exhibition

11325-602: The beginning of World War II and the rise of the strictly functional and unadorned styles of modern architecture and the International Style of architecture that followed. Art Deco took its name, short for Arts Décoratifs , from the International Exhibition of Modern Decorative and Industrial Arts held in Paris in 1925, though the diverse styles that characterised it had already appeared in Paris and Brussels before World War I . Arts décoratifs

11476-500: The best-known Art Deco salon sculptors was the Romanian-born Demétre Chiparus , who produced colourful small sculptures of dancers. Other notable salon sculptors included Ferdinand Preiss , Josef Lorenzl , Alexander Kelety, Dorothea Charol and Gustav Schmidtcassel. Another important American sculptor in the studio format was Harriet Whitney Frishmuth , who had studied with Auguste Rodin in Paris. Pierre Le Paguays

11627-469: The building or room. The themes were usually selected by the patrons, not the artist. Abstract sculpture for decoration was extremely rare. In the United States, the most prominent Art Deco sculptor for public art was Paul Manship , who updated classical and mythological subjects and themes in an Art Deco style. His most famous work was the statue of Prometheus at Rockefeller Center in New York City,

11778-497: The case of Still-life With Chair Caning , freely brushed oil paint and commercially printed oilcloth together on a canvas. The Cubist contribution to the 1912 Salon d'Automne created scandal regarding the use of government owned buildings, such as the Grand Palais , to exhibit such artwork. The indignation of the politician Jean Pierre Philippe Lampué made the front page of Le Journal , 5 October 1912. The controversy spread to

11929-485: The clear contrast between horizontal and vertical volumes, specific both to Russian Constructivism and the Frank Lloyd Wright - Willem Marinus Dudok line, becomes a common device in articulating Art Deco façades, from individual homes and tenement buildings to cinemas or oil stations. Art Deco also used the clashing colours and designs of Fauvism, notably in the work of Henri Matisse and André Derain , inspired

12080-414: The critic Louis Vauxcelles called Braque a daring man who despises form, "reducing everything, places and a figures and houses, to geometric schemas, to cubes". Vauxcelles recounted how Matisse told him at the time, "Braque has just sent in [to the 1908 Salon d'Automne ] a painting made of little cubes". The critic Charles Morice relayed Matisse's words and spoke of Braque's little cubes. The motif of

12231-628: The decorative arts, the Esposizione Internazionale d'Arte Decorativa Moderna , was held in Turin in 1902. Several new magazines devoted to decorative arts were founded in Paris, including Arts et décoration and L'Art décoratif moderne . Decorative arts sections were introduced into the annual salons of the Sociéte des artistes français , and later in the Salon d'Automne . French nationalism also played

12382-631: The designs of Art Deco textiles, wallpaper, and painted ceramics. It took ideas from the high fashion vocabulary of the period, which featured geometric designs, chevrons, zigzags, and stylized bouquets of flowers. It was influenced by discoveries in Egyptology , and growing interest in the Orient and in African art. From 1925 onwards, it was often inspired by a passion for new machines, such as airships, automobiles and ocean liners, and by 1930 this influence resulted in

12533-536: The dominant architectural style became the International Style pioneered by Le Corbusier, and Mies van der Rohe . A handful of Art Deco hotels were built in Miami Beach after World War II, but elsewhere the style largely vanished, except in industrial design, where it continued to be used in automobile styling and products such as jukeboxes. In the 1960s, it experienced a modest academic revival, thanks in part to

12684-447: The earliest Art Deco landmark in Paris, the Théâtre des Champs-Élysées , in 1912. The 1925 Exposition had major sculptural works placed around the site, pavilions were decorated with sculptural friezes, and several pavilions devoted to smaller studio sculpture. In the 1930s, a large group of prominent sculptors made works for the 1937 Exposition Internationale des Arts et Techniques dans la Vie Moderne at Chaillot. Alfred Janniot made

12835-483: The facts they identify. Neither phase was designated as such at the time corresponding works were created. "If Kahnweiler considers Cubism as Picasso and Braque," wrote Daniel Robbins, "our only fault is in subjecting other Cubists' works to the rigors of that limited definition." The traditional interpretation of "Cubism", formulated post facto as a means of understanding the works of Braque and Picasso, has affected our appreciation of other twentieth-century artists. It

12986-601: The façade of the new San Francisco Stock Exchange building. In Washington D.C., Michael Lantz made works for the Federal Trade Commission building. In Britain, Deco public statuary was made by Eric Gill for the BBC Broadcasting House , while Ronald Atkinson decorated the lobby of the former Daily Express Building in London (1932). One of the best known and certainly the largest public Art Deco sculpture

13137-452: The fireplace in the Maison du Collectionneur exhibit at the 1925 Exposition, which featured furniture by Ruhlmann and other prominent Art Deco designers. His murals were also prominent in the décor of the French ocean liner SS Normandie . His work was purely decorative, designed as a background or accompaniment to other elements of the décor. The other painter closely associated with the style

13288-455: The first Cubist paintings. The first organized group exhibition by Cubists took place at the Salon des Indépendants in Paris during the spring of 1911 in a room called 'Salle 41'; it included works by Jean Metzinger , Albert Gleizes , Fernand Léger , Robert Delaunay and Henri Le Fauconnier , yet no works by Picasso or Braque were exhibited. By 1911 Picasso was recognized as the inventor of Cubism, while Braque's importance and precedence

13439-449: The first declared group exhibition of Cubism worldwide ( Exposició d'Art Cubista ), with a controversial showing by Jean Metzinger, Albert Gleizes, Juan Gris, Marie Laurencin and Marcel Duchamp (Barcelona, 20 April to 10 May 1912). The Dalmau exhibition comprised 83 works by 26 artists. Jacques Nayral's association with Gleizes led him to write the Preface for the Cubist exhibition, which

13590-489: The first modern reinforced-concrete apartment building in Paris on rue Benjamin Franklin in 1903–04. Henri Sauvage , another important future Art Deco architect, built another in 1904 at 7, rue Trétaigne (1904). From 1908 to 1910, the 21-year-old Le Corbusier worked as a draftsman in Perret's office, learning the techniques of concrete construction. Perret's building had clean rectangular form, geometric decoration and straight lines,

13741-536: The first time in Paris residential buildings; the new buildings had clean lines, rectangular forms, and no decoration on the façades; they marked a clean break with the art nouveau style. Between 1910 and 1913, Perret used his experience in concrete apartment buildings to construct the Théâtre des Champs-Élysées, 15 avenue Montaigne . Between 1925 and 1928 Sauvage constructed the new Art Deco façade of La Samaritaine department store in Paris. Cubism The movement

13892-437: The fluidity of consciousness, blurring the distinctions between past, present and future. One of the major theoretical innovations made by the Salon Cubists, independently of Picasso and Braque, was that of simultaneity , drawing to greater or lesser extent on theories of Henri Poincaré , Ernst Mach , Charles Henry , Maurice Princet , and Henri Bergson. With simultaneity, the concept of separate spatial and temporal dimensions

14043-622: The furniture designer Emile-Jacques Ruhlmann, Jean Dunand , the sculptor Antoine Bourdelle, and designer Paul Poiret; they combined modern forms with traditional craftsmanship and expensive materials. On the other side were the modernists, who increasingly rejected the past and wanted a style based upon advances in new technologies, simplicity, a lack of decoration, inexpensive materials, and mass production. The modernists founded their own organisation, The French Union of Modern Artists , in 1929. Its members included architects Pierre Chareau , Francis Jourdain , Robert Mallet-Stevens , Corbusier, and, in

14194-497: The furniture for the first-class salons and cabins of the French transatlantic ocean liners . The vivid hues of Art Deco came from many sources, including the exotic set designs by Léon Bakst for the Ballets Russes , which caused a sensation in Paris just before World War I. Some of the colours were inspired by the earlier Fauvism movement led by Henri Matisse ; others by the Orphism of painters such as Sonia Delaunay ; others by

14345-428: The fusing of the past and the present, the representation of different views of the subject pictured at the same time or successively, also called multiple perspective, simultaneity or multiplicity, while Constructivism was influenced by Picasso's technique of constructing sculpture from separate elements. Other common threads between these disparate movements include the faceting or simplification of geometric forms, and

14496-423: The future trademarks of Art Deco. The décor of the theatre was also revolutionary; the façade was decorated with high reliefs by Antoine Bourdelle , a dome by Maurice Denis , paintings by Édouard Vuillard , and an Art Deco curtain by Ker-Xavier Roussel . The theatre became the venue for many of the first performances of the Ballets Russes . Perret and Sauvage became the leading Art Deco architects in Paris in

14647-459: The graphic arts, in the years just before World War I. It appeared in Paris in the posters and the costume designs of Léon Bakst for the Ballets Russes, and in the catalogues of the fashion designers Paul Poiret. The illustrations of Georges Barbier , and Georges Lepape and the images in the fashion magazine La Gazette du bon ton perfectly captured the elegance and sensuality of the style. In

14798-483: The human body, the site, to pallid cubes." At the 1910 Salon d'Automne , a few months later, Metzinger exhibited his highly fractured Nu à la cheminée (Nude) , which was subsequently reproduced in both Du "Cubisme" (1912) and Les Peintres Cubistes (1913). The first public controversy generated by Cubism resulted from Salon showings at the Indépendants during the spring of 1911. This showing by Metzinger, Gleizes, Delaunay, le Fauconnier and Léger brought Cubism to

14949-555: The idea of strengthening the concrete with a mesh of iron rods in a grill pattern. In 1893, Auguste Perret built the first concrete garage in Paris, then an apartment building, house, then, in 1913, the Théâtre des Champs-Élysées . The theatre was denounced by one critic as the "Zeppelin of Avenue Montaigne", an alleged Germanic influence, copied from the Vienna Secession . Thereafter, the majority of Art Deco buildings were made of reinforced concrete, which gave greater freedom of form and less need for reinforcing pillars and columns. Perret

15100-479: The last phase of Cubism as a radical avant-garde movement. Douglas Cooper's restrictive use of these terms to distinguish the work of Braque, Picasso, Gris (from 1911) and Léger (to a lesser extent) implied an intentional value judgement. Cubism burgeoned between 1907 and 1911. Pablo Picasso's 1907 painting Les Demoiselles d'Avignon has often been considered a proto-Cubist work. In 1908, in his review of Georges Braque 's exhibition at Kahnweiler 's gallery,

15251-457: The late 1920s, drawing at first from sources of limited data, namely the opinions of Guillaume Apollinaire . It came to rely heavily on Daniel-Henry Kahnweiler 's book Der Weg zum Kubismus (published in 1920), which centered on the developments of Picasso, Braque, Léger, and Gris. The terms "analytical" and "synthetic" which subsequently emerged have been widely accepted since the mid-1930s. Both terms are historical impositions that occurred after

15402-538: The left bank, and along the banks of the Seine. The Grand Palais, the largest hall in the city, was filled with exhibits of decorative arts from the participating countries. There were 15,000 exhibitors from twenty different countries, including Austria, Belgium, Czechoslovakia, Denmark, Great Britain, Italy, Japan, the Netherlands, Poland, Spain, Sweden, and the new Soviet Union . Germany was not invited because of tensions after

15553-558: The main feature of the exhibition. [...] In spite of the crazy nature of the "Cubist" theories the number of those professing them is fairly respectable. Georges Braque, André Derain, Picasso, Czobel, Othon Friesz, Herbin, Metzinger—these are a few of the names signed to canvases before which Paris has stood and now again stands in blank amazement. What do they mean? Have those responsible for them taken leave of their senses? Is it art or madness? Who knows? The subsequent 1912 Salon des Indépendants located in Paris (20 March to 16 May 1912)

15704-408: The marquee. The theater is Larkspur's only Art Deco building. It originally seated 400 people and featured both heating and air conditioning at the time it opened. Its neon sign and stopped tower are typical details used for 1930s movie theaters. The two small buildings on either side of the theater were originally used as office and storage space for the theater. Over the decades of its existence,

15855-460: The modernist sense. Picasso is credited with creating the first Cubist collage, Still-life With Chair Caning , in May 1912, while Braque preceded Picasso in the creation of Cubist cardboard sculptures and papiers collés . Papiers collés were often composed of pieces of everyday paper artifacts such as newspaper, table cloth, wallpaper and sheet music, whereas Cubist collages combined disparate materials—in

16006-483: The most conspicuous Cubists, was a collective of painters, sculptors and critics associated with Cubism and Orphism, active from 1911 through about 1914, coming to prominence in the wake of their controversial showing at the 1911 Salon des Indépendants . The Salon de la Section d'Or at the Galerie La Boétie in Paris, October 1912, was arguably the most important pre-World War I Cubist exhibition; exposing Cubism to

16157-530: The movement known as Les Nabis , and in the work of symbolist painter Odilon Redon, who designed fireplace screens and other decorative objects. Bright shades were a feature of the work of fashion designer Paul Poiret , whose work influenced both Art Deco fashion and interior design. The Théâtre des Champs-Élysées (1910–1913), by Auguste Perret , was the first landmark Art Deco building completed in Paris. Previously, reinforced concrete had been used only for industrial and apartment buildings, Perret had built

16308-637: The new style were the Museum of Public Works by Auguste Perret (now the French Economic, Social and Environmental Council ), the Palais de Chaillot by Louis-Hippolyte Boileau , Jacques Carlu and Léon Azéma , and the Palais de Tokyo of the 1937 Paris International Exposition ; they looked out at the grandiose pavilion of Nazi Germany, designed by Albert Speer , which faced the equally grandiose socialist-realist pavilion of Stalin's Soviet Union. After World War II,

16459-475: The newspapers Esquella de La Torratxa and El Noticiero Universal attacking the Cubists with a series of caricatures laced with derogatory text. Art historian Jaime Brihuega writes of the Dalmau show: "No doubt that the exhibition produced a strong commotion in the public, who welcomed it with a lot of suspicion. A major development in Cubism occurred in 1912 with Braque's and Picasso's introduction of collage in

16610-507: The period was Ludwig Hohlwein , who created colourful and dramatic posters for music festivals, beers, and, late in his career, for the Nazi Party. During the Art Nouveau period, posters usually advertised theatrical products or cabarets. In the 1920s, travel posters, made for steamship lines and airlines, became extremely popular. The style changed notably in the 1920s, to focus attention on

16761-476: The poet and critic Guillaume Apollinaire accepted the term on behalf of a group of artists invited to exhibit at the Brussels Indépendants. The following year, in preparation for the Salon de la Section d'Or , Metzinger and Gleizes wrote and published Du "Cubisme" in an effort to dispel the confusion raging around the word, and as a major defence of Cubism (which had caused a public scandal following

16912-423: The product being advertised. The images became simpler, precise, more linear, more dynamic, and were often placed against a single-color background. In France, popular Art Deco designers included Charles Loupot and Paul Colin , who became famous for his posters of American singer and dancer Josephine Baker . Jean Carlu designed posters for Charlie Chaplin movies, soaps, and theatres; in the late 1930s he emigrated to

17063-517: The products, all the major Paris department stores, and major designers had their own pavilions. The Exposition had a secondary purpose in promoting products from French colonies in Africa and Asia, including ivory and exotic woods. The Hôtel du Collectionneur was a popular attraction at the Exposition; it displayed the new furniture designs of Emile-Jacques Ruhlmann, as well as Art Deco fabrics, carpets, and

17214-505: The relief sculptures on the façade of the Palais de Tokyo. The Musée d'Art Moderne de la Ville de Paris , and the esplanade in front of the Palais de Chaillot, facing the Eiffel Tower, was crowded with new statuary by Charles Malfray , Henry Arnold, and many others. Public Art Deco sculpture was almost always representational, usually of heroic or allegorical figures related to the purpose of

17365-450: The salon passed through the full-scale model. The façade of the house, designed by Duchamp-Villon, was not very radical by modern standards; the lintels and pediments had prismatic shapes, but otherwise the façade resembled an ordinary house of the period. For the two rooms, Mare designed the wallpaper, which featured stylized roses and floral patterns, along with upholstery, furniture and carpets, all with flamboyant and colourful motifs. It

17516-436: The sense of time to multiple perspective, giving symbolic expression to the notion of ‘duration’ proposed by the philosopher Henri Bergson according to which life is subjectively experienced as a continuum, with the past flowing into the present and the present merging into the future. The Salon Cubists used the faceted treatment of solid and space and effects of multiple viewpoints to convey a physical and psychological sense of

17667-496: The simplification of forms to their geometric essentials: the cylinder, the sphere, the cone. In 1912, the artists of the Section d'Or exhibited works considerably more accessible to the general public than the analytical Cubism of Picasso and Braque. The Cubist vocabulary was poised to attract fashion, furniture and interior designers. In the Art Décoratif section of the 1912 Salon d'Automne, an architectural installation

17818-422: The simplification of natural forms into cylinders, spheres, and cones. However, the cubists explored this concept further than Cézanne. They represented all the surfaces of depicted objects in a single picture plane, as if the objects had all their faces visible at the same time. This new kind of depiction revolutionized the way objects could be visualized in painting and art. The historical study of Cubism began in

17969-410: The style called Streamline Moderne . The event that marked the zenith of the style and gave it its name was the International Exhibition of Modern Decorative and Industrial Arts which took place in Paris from April to October in 1925. This was officially sponsored by the French government, and covered a site in Paris of 55 acres, running from the Grand Palais on the right bank to Les Invalides on

18120-487: The theater installed a new 4K NEC digital projector for its single screen. The sound system was upgraded to handle 7.1 media. The theater also has two Meyers powered speakers, one subwoofer, a 16 channel audio mixing board, audio effects processors and stage lighting for live performances on the small stage. Art Deco Art Deco , short for the French Arts décoratifs ( lit.   ' Decorative Arts ' ),

18271-472: The title of the first modern exhibition on the subject, held by the Museum of Decorative Arts in Paris, Les Années 25 : Art déco, Bauhaus, Stijl, Esprit nouveau , which covered a variety of major styles in the 1920s and 1930s. The term was then used in a 1966 newspaper article by Hillary Gelson in The Times (London, 12 November), describing the different styles at the exhibit. Art Deco gained currency as

18422-473: The viaduct at l'Estaque had inspired Braque to produce three paintings marked by the simplification of form and deconstruction of perspective. Georges Braque's 1908 Houses at L’Estaque (and related works) prompted Vauxcelles, in Gil Blas , 25 March 1909, to refer to bizarreries cubiques (cubic oddities). Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro , as

18573-502: The war; the United States, misunderstanding the purpose of the exhibit, declined to participate. The event was visited by sixteen million people during its seven-month run. The rules of the exhibition required that all work be modern; no historical styles were allowed. The main purpose of the Exhibit was to promote the French manufacturers of luxury furniture, porcelain, glass, metalwork, textiles, and other decorative products. To further promote

18724-457: The whole family of styles known as "Déco". Parisian department stores and fashion designers also played an important part in the rise of Art Deco. Prominent businesses such as silverware firm Christofle , glass designer René Lalique , and the jewellers Louis Cartier and Boucheron began designing products in more modern styles. Beginning in 1900, department stores recruited decorative artists to work in their design studios. The decoration of

18875-582: The word "cube" goes back at least to May 1901 when Jean Béral, reviewing the work of Henri-Edmond Cross at the Indépendants in Art et Littérature , commented that he "uses a large and square pointillism, giving the impression of mosaic. One even wonders why the artist has not used cubes of solid matter diversely colored: they would make pretty revetments." (Robert Herbert, 1968, p. 221) The term Cubism did not come into general usage until 1911, mainly with reference to Metzinger, Gleizes, Delaunay, and Léger. In 1911,

19026-498: The work of Picasso, Braque, Gris and Léger that stress iconographic and ideological questions rather than methods of representation." John Berger identifies the essence of Cubism with the mechanical diagram. "The metaphorical model of Cubism is the diagram: The diagram being a visible symbolic representation of invisible processes, forces, structures. A diagram need not eschew certain aspects of appearance but these too will be treated as signs not as imitations or recreations." There

19177-766: The works exhibited were Le Fauconnier 's vast composition Les Montagnards attaqués par des ours (Mountaineers Attacked by Bears) now at Rhode Island School of Design Museum, Joseph Csaky 's Deux Femme, Two Women (a sculpture now lost), in addition to the highly abstract paintings by Kupka, Amorpha (The National Gallery, Prague), and Picabia , La Source (The Spring) (Museum of Modern Art, New York). The most extreme forms of Cubism were not those practiced by Picasso and Braque, who resisted total abstraction. Other Cubists, by contrast, especially František Kupka , and those considered Orphists by Apollinaire (Delaunay, Léger, Picabia and Duchamp), accepted abstraction by removing visible subject matter entirely. Kupka's two entries at

19328-471: The writings of architectural historians such as Bevis Hillier. In the 1970s efforts were made in the United States and Europe to preserve the best examples of Art Deco architecture, and many buildings were restored and repurposed. Postmodern architecture , which first appeared in the 1980s, like Art Deco, often includes purely decorative features. Deco continues to inspire designers, and is often used in contemporary fashion, jewellery, and toiletries. There

19479-483: Was a brilliant publicist for modernist architecture; he stated that a house was simply "a machine to live in", and tirelessly promoted the idea that Art Deco was the past and modernism was the future. Le Corbusier's ideas were gradually adopted by architecture schools, and the aesthetics of Art Deco were abandoned. The same features that made Art Deco popular in the beginning, its craftsmanship, rich materials and ornament, led to its decline. The Great Depression that began in

19630-499: Was a distinct break from traditional décor. The critic Emile Sedeyn described Mare's work in the magazine Art et Décoration : "He does not embarrass himself with simplicity, for he multiplies flowers wherever they can be put. The effect he seeks is obviously one of picturesqueness and gaiety. He achieves it." The Cubist element was provided by the paintings. The installation was attacked by some critics as extremely radical, which helped make for its success. This architectural installation

19781-588: Was a distinct difference between Kahnweiler's Cubists and the Salon Cubists. Prior to 1914, Picasso, Braque, Gris and Léger (to a lesser extent) gained the support of a single committed art dealer in Paris, Daniel-Henry Kahnweiler, who guaranteed them an annual income for the exclusive right to buy their works. Kahnweiler sold only to a small circle of connoisseurs. His support gave his artists the freedom to experiment in relative privacy. Picasso worked in Montmartre until 1912, while Braque and Gris remained there until after

19932-434: Was a prominent Art Deco studio sculptor, whose work was shown at the 1925 Exposition. He worked with bronze, marble, ivory, onyx, gold, alabaster and other precious materials. François Pompon was a pioneer of modern stylised animalier sculpture. He was not fully recognised for his artistic accomplishments until the age of 67 at the Salon d'Automne of 1922 with the work Ours blanc , also known as The White Bear , now in

20083-553: Was also a founder of the Wiener Werkstätte (1903–1932), an association of craftsmen and interior designers working in the new style. This became the model for the Compagnie des arts français , created in 1919, which brought together André Mare , and Louis Süe , the first leading French Art Deco designers and decorators. The emergence of Art Deco was closely connected with the rise in status of decorative artists, who until late in

20234-435: Was also a pioneer in covering the concrete with ceramic tiles , both for protection and decoration. The architect Le Corbusier first learned the uses of reinforced concrete working as a draftsman in Perret's studio. Other new technologies that were important to Art Deco were new methods in producing plate glass , which was less expensive and allowed much larger and stronger windows, and for mass-producing aluminium , which

20385-408: Was another important influence. There were also parallels in the development of literature and social thought. In addition to Seurat, the roots of cubism are to be found in the two distinct tendencies of Cézanne's later work: first his breaking of the painted surface into small multifaceted areas of paint, thereby emphasizing the plural viewpoint given by binocular vision , and second his interest in

20536-458: Was argued later, with respect to his treatment of space, volume and mass in the L’Estaque landscapes. But "this view of Cubism is associated with a distinctly restrictive definition of which artists are properly to be called Cubists," wrote the art historian Christopher Green: "Marginalizing the contribution of the artists who exhibited at the Salon des Indépendants in 1911 [...]" The assertion that

20687-531: Was comprehensively challenged. Linear perspective developed during the Renaissance was vacated. The subject matter was no longer considered from a specific point of view at a moment in time, but built following a selection of successive viewpoints, i.e., as if viewed simultaneously from numerous angles (and in multiple dimensions) with the eye free to roam from one to the other. This technique of representing simultaneity, multiple viewpoints (or relative motion )

20838-730: Was copied worldwide. In decoration, many different styles were borrowed and used by Art Deco. They included pre-modern art from around the world and observable at the Musée du Louvre , Musée de l'Homme and the Musée national des Arts d'Afrique et d'Océanie . There was also popular interest in archaeology due to excavations at Pompeii , Troy , and the tomb of the 18th dynasty Pharaoh Tutankhamun . Artists and designers integrated motifs from ancient Egypt , Africa , Mesopotamia , Greece , Rome , Asia, Mesoamerica and Oceania with Machine Age elements. Other styles borrowed included Futurism , Orphism, Functionalism , and Modernism in general. Cubism discovers its decorative potential within

20989-402: Was dead, but these exhibitions, along with a well-organized Cubist show at the 1920 Salon des Indépendants and a revival of the Salon de la Section d’Or in the same year, demonstrated it was still alive. The reemergence of Cubism coincided with the appearance from about 1917 to 1924 of a coherent body of theoretical writing by Pierre Reverdy, Maurice Raynal and Daniel-Henry Kahnweiler and, among

21140-528: Was exhibited known as La Maison Cubiste . The façade was designed by Raymond Duchamp-Villon . The décor of the house was by André Mare . La Maison Cubiste was a furnished installation with a façade, a staircase, wrought iron banisters, a bedroom, a living room—the Salon Bourgeois , where paintings by Albert Gleizes , Jean Metzinger , Marie Laurencin , Marcel Duchamp , Fernand Léger and Roger de La Fresnaye were hung. Thousands of spectators at

21291-558: Was first used in France in 1858 in the Bulletin de la Société française de photographie . In 1868, the Le Figaro newspaper used the term objets d'art décoratifs for objects for stage scenery created for the Théâtre de l'Opéra . In 1875, furniture designers, textile, jewellers, glass-workers, and other craftsmen were officially given the status of artists by the French government. In response,

21442-505: Was fully translated and reproduced in the newspaper La Veu de Catalunya . Duchamp's Nude Descending a Staircase, No. 2 was exhibited for the first time. Extensive media coverage (in newspapers and magazines) before, during and after the exhibition launched the Galeries Dalmau as a force in the development and propagation of modernism in Europe. While press coverage was extensive, it was not always positive. Articles were published in

21593-553: Was marked by the presentation of Marcel Duchamp's Nude Descending a Staircase, No. 2 , which itself caused a scandal, even amongst the Cubists. It was in fact rejected by the hanging committee, which included his brothers and other Cubists. Although the work was shown in the Salon de la Section d'Or in October 1912 and the 1913 Armory Show in New York, Duchamp never forgave his brothers and former colleagues for censoring his work. Juan Gris,

21744-470: Was no section set aside for painting at the 1925 Exposition. Art deco painting was by definition decorative, designed to decorate a room or work of architecture, so few painters worked exclusively in the style, but two painters are closely associated with Art Deco. Jean Dupas painted Art Deco murals for the Bordeaux Pavilion at the 1925 Decorative Arts Exposition in Paris, and also painted the picture over

21895-417: Was perfectly fit to fulfil its function. Modern industrial methods meant that furniture and buildings could be mass-produced, not made by hand. The Art Deco interior designer Paul Follot defended Art Deco in this way: "We know that man is never content with the indispensable and that the superfluous is always needed...If not, we would have to get rid of music, flowers, and perfumes..!" However, Le Corbusier

22046-489: Was pioneered in partnership by Pablo Picasso and Georges Braque , and joined by Jean Metzinger , Albert Gleizes , Robert Delaunay , Henri Le Fauconnier , Juan Gris , and Fernand Léger . One primary influence that led to Cubism was the representation of three-dimensional form in the late works of Paul Cézanne . A retrospective of Cézanne's paintings was held at the Salon d'Automne of 1904, current works were displayed at

22197-546: Was reviewed in the October 8, 1911 issue of The New York Times . This article was published a year after Gelett Burgess ' The Wild Men of Paris , and two years prior to the Armory Show , which introduced astonished Americans, accustomed to realistic art, to the experimental styles of the European avant garde, including Fauvism, Cubism, and Futurism. The 1911 New York Times article portrayed works by Picasso, Matisse, Derain, Metzinger and others dated before 1909; not exhibited at

22348-409: Was subsequently exhibited at the 1913 Armory Show , New York City, Chicago and Boston. Thanks largely to the exhibition, the term "Cubist" began to be applied to anything modern, from women's haircuts to clothing to theater performances." The Cubist influence continued within Art Deco, even as Deco branched out in many other directions. Cubism's adumbrated geometry became coin of the realm in

22499-550: Was suggested by Villon, after reading a 1910 translation of Leonardo da Vinci 's Trattato della Pittura by Joséphin Péladan . During the late 19th and early 20th centuries, Europeans were discovering African , Polynesian, Micronesian and Native American art. Artists such as Paul Gauguin , Henri Matisse , and Pablo Picasso were intrigued and inspired by the stark power and simplicity of styles of those foreign cultures. Around 1906, Picasso met Matisse through Gertrude Stein , at

22650-404: Was tagged with other names, like style moderne , Moderne , modernistic or style contemporain , and was not recognized as a distinct and homogenous style. New materials and technologies, especially reinforced concrete , were key to the development and appearance of Art Deco. The first concrete house was built in 1853 in the Paris suburbs by François Coignet. In 1877 Joseph Monier introduced

22801-577: Was used for building and window frames and later, by Corbusier, Warren McArthur , and others, for lightweight furniture. The architects of the Vienna Secession (formed 1897), especially Josef Hoffmann , had a notable influence on Art Deco. His Stoclet Palace , in Brussels (1905–1911), was a prototype of the Art Deco style, featuring geometric volumes, symmetry, straight lines, concrete covered with marble plaques, finely-sculpted ornament, and lavish interiors, including mosaic friezes by Gustav Klimt . Hoffmann

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