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By Victoria Charles, Klaus H. Carl

Paintings Deco type used to be verified at the ashes of a disappeared international, the only from sooner than the 1st global battle, and at the origin stone of a global but to develop into, opened to the main undisclosed delivers. Forgetting herself within the whirl of Jazz Age and the euphoria of the “Années Folles”, the Garçonne together with her linear form displays the architectural form of paintings Deco: to the rounded curves be successful the straightforward and simple androgynous immediately line…

Architecture, portray, furnishings and sculpture, dissected by way of the writer, proclaim the druthers for sharp strains and damaged angles. even if ephemeral, this move retains on influencing modern layout.

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He had faith in reinforced concrete. The obligation to fit a public passage under the country house that he had designed, had given him the idea of building external staircases reminiscent of those we sometimes see in his homeland. But he had given up on the projecting storey and on gables protected by flat, tiled canopies, as they seemed a little misplaced in Paris. At the other end of the Village, high slate roofs, white rendering, paved granite kerbs: it was the massive House of Brittany, somewhat modernised, built by Vaugeois.

62 To respect architectural dimensions, many sculptors made sure to establish their reliefs very low, protected by the bare part of the wall, such as Saupique and Jouant, creators of the flat panels encrusted below the external doors of the Court of Trades. On the outer walls of the pavilions of Sèvres, the graceful medallions of the late Max Blondat, and on the doors of the pavilion of Le Bon Marché, the compositions of Céline Lepage were done in champlevé. The low-reliefs by Pierre Poisson, on the four faces of the fountain of the Court of Trades were not very prominent, but were highly stylised: the gold film which covered them made the fine decoration highly sensitive.

47 capped with three floors of attic windows, the highly-steeped, sloping roof designed by André Ventre and Jean Launay, architects of the pavilion of Mulhouse. On the walls, reinforced concrete beams replaced the old timber frame. In composing the pavilion of Roubaix and Tourcoing, De Feure remembered the brick frontages and tiered gables of the North of France. The pavilion-smallholding of Berry-Nivernais by Gauchery and Dreyer, the “Clos Normand”, or enclosed flower garden, by Victorien Lelong and Pierre Chirol, and the pavilion of Franche-Comté by Boutterin all showcased beautiful framework.

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