![]() However it was Frank’s collaboration with contemporary painters and sculptors that set him apart from other designers of the period, and in particular, his collaboration with sculptor Alberto Giacometti (1901-1966).įrank first came across Giacometti’s work at the 1929 Salon de Tuileries exposition held at the Palais de Bois. To that end, Frank applied traditional materials in novel ways, for example covering walls in straw marquetry and upholstering with canvas. Frank, like his contemporaries at the UAM, rejected any hierarchy of material and just like Bauhausler Josef Albers (1888-1976), he insisted anything could be interesting if it was used properly. of Mathieu Matégot (1910–2001) or Le Corbusier (1887–1965), rooted in the tradition of fine French cabinetry, he selected materials - from straw marquetry to mica, terracotta, shagreen, obsidian and parchment - like paints in a palette, each contributing to an overall decorative scheme stripping his radical-yet-sophisticated interiors of everything but the essential and independent of historical references and styles. Though his work was less avant-garde than that for e.g. ![]() Yet, arguably, not one of them had a greater fascination for materials than Jean-Michel Frank (1895-1941) - a designer who never belonged to any artistic movement - for whom materials were a means, not an end. overcome the habit of the eyes.” It’s activity peaked at the 1937 World’s Fair in Paris (also known as The Exposition Universelle) for which Charlotte Perriand created a space-age star-shaped pavilion for the Ministry of Agriculture, Francis Jourdain (1876-1958) displayed his rationalist interior for A Workers Home and Jean Prouvé (1901-1984) introduced one of the first chairs ever constructed in Plexiglas. In the first half of the century members of the Union des Artistes Modernes (“UAM”) (initially made up of around 20 dissidents of the Société des Artistes-Décorateurs and led by architect Robert Mallet-Stevens (1886-1945)) championed new technologies, proclaiming: “We must rise up against everything that looks rich, against whatever is well made, and against anything inherited from grandmother. It was a century where advances in fabrication and construction methods meant designers could push the boundaries of what had previously been achievable. ![]() the plaster casts reproduced work in a much more differentiated and lively way than many of the bronzes could” -Ernst ScheideggerĪ consistent thread running through the work of almost all twentieth century designers was an innate love of materials. Plaster in Interiors “As a white material, plaster is superbly well-suited to bringing a figure to life using light and shade. ![]()
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