![]() Light-fittings underwent a complete transformation, becoming sculptural, ingenious or streamlined to complement other ideas within a total scheme. Decorators and designers took particular delight in applying these features of Art Deco to recent technological discoveries or improvements. A good example is Lalique’s car mascot Victoire or Spirit of the Wind, a moulded sculpture in tinted glass of a maiden with streaming hair set in a frozen geometric pattern of parallel diagonals. Speed was considered to be one of the great marvels of the twentieth century-‘speed is our God’, wrote the Futurist poet Marinetti-and the sleek lines - imposed by the laws of aerodynamics became more and more a feature of design. Other important aspects of Art Deco were streamlining and jazziness. The sunburst with its clearly defined circle surrounded by radiating lines is one of them the ziggurat is another, as is the formalized fountain motif with its arc-shapes. Subjects that were particularly well suited to this treatment featured frequently and have now come to be called the symbols of Art Deco. Shapes became bolder and simpler as geometry took over. Everything from flowers to the human form became angular. The clearest hallmark of Art Deco is its geometry, which was largely derived from Cubism. This style is instantly recognizable because everything was designed to go together and make a complete ensemble also it is encapsulated so neatly in the period between the wars and the Second World War forced a complete stylistic break in Europe, causing a sharp separation between Art Deco and its successors. ![]() Unlike the idealists of the Bauhaus or De Stijl, they had no intention of imposing rigorous new lifestyles, but in the process of their work these French designers created a broad new style, which rapidly became popular elsewhere. It simply happened because designers and decorators in Paris during the period after the First World War were stimulated by the demands of a restructured society. It had no founder, no manifesto, and no philosophy. 2, page 2.) -Ed.Īrt Deco was not a movement. To read part one, see the last issue of THE MODERNIST (Vol. This is an authoritative overview that puts Art Deco in proper perspective. It is one of the most interesting and informative summation of Art Deco in all its many aspects now available. ![]() With the kind permission of Rizzoli, THE MODERNIST presents the conclusion of Dan Klein 's introduction to In the Deco Style. ![]()
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