No need to strain your neck. Not all Art Deco require you to look up on high buildings.
The style left its mark in jewelry, fashion, posters, art and daily subjects. It should have been. In a world that tries to distance themselves from the Great War, new optimisms and new ideas were racing across the continents. A new new visual language has emerged against everything, and in the world of design, everything was everywhere.
By the mid-1920s, the railway technology rose to 160 km per hour. The steamers competed to make the fastest trans-atlantic transitions. The growing class of working professionals begins to travel for the sake of pleasure.
These new services needed to advertise yourself, and the new design language was perfect: fluid, aerodynamic, without fussy. Check out the 1935 poster for SS Normandie, one of the largest and most extravagant ships of your time. It conducts an unusual appearance of the frontal vessel, its elegant curves are somehow majestic and simple. We have a sense of look even when a person just looks. He won his artist Am Cassandre almost instant recognition.
The former work of the French artist, ordered in 1927, draws another car with some respect. Its poster for Transeuropean Nord Express puts the viewer on almost at the wheel level, making a train that emerges for greater than life, white lines and geometric alarm forms. Only the pair noise breaks free.
For those who wished to stay still, the stores had quiet adventures of Art Deco. Somewhere in the vaults of the Victoria and Albert Museum in London is surfers, a length of Cotton Dress Material from 1937. It was manchester’s calico printers’ association and department Stylish Swimwear, Surfing On Boards Against A Bright Red Background, Enjoying A Sea With No Men in It – A Small Rebellion, Elegantly Rendered, For A World In which equal voting right decade. Like the flattened figures of the Art Deco architecture, there is no bloom or antennae; The human body on its own is a design.
The motives responded to the objects: a symbol of chevron with a forged iron grille may appear on the tiara, in the glitter on the dress of the melons and on the body of the unisex cigarette.
More valuable pleasures were ordered by jewelry such as Cartier. The French brand updated its signature East-Meet-West Style (which auctioned Tutti Frutti in the 1970s) for wealthy and fashionable. No one was more fashionable than Daisy-Feileis, the singer’s heir.
In 1936, she ordered the Collier Hindou, necklaces made of her own sapphires, emeralds, rubies and diamonds, fixed in the style of Maharaja, black cord. The necklaces were thick, colorful and flexible. The central section can be used as a brooch. This reflected the love of the period for geometric shapes. It remains the most entertaining of the Painter’s works in Tutti Frutti.
The interior design also reflected the spirit of Art Deco. It became a symbol of quiet luxury to have a single living and working space in which there were exotic trees, ivory and precious metals in lighting, ladders and furniture. Wealthy Parisians loved Emile-Jacques Rulman (he was the most popular pavilion at the 1925 exposition). He knew when going overboard and when restraint. Consider the iconic sunny bed, which he developed in 1930 for the French stage actress Jane Renoart. The white oak and the ebony took its masters for more than 250 hours.
Speed, liberation, luxury and elegance all converge in the unlikely icon of Art Deco: 1929 works of art, which served as the Cover of Die Dame (The Lady), a popular German fashion magazine. The work is the self-portrait of the Polish artist Tamara de Lamik, dressed in a leather helmet, gloves and gray scarf, on the wheel of an Italian racing car.
Called Autoportrat (but also known as Tamara in Green Bugatti), this is a dense crop. We only see the artist’s face and hands and the driver of the car: the pedestrian’s gaze to De Lamika when she goes by. Wealthy, stylish, unavailable, free. No wonder it symbolizes the mood of the era, 100 years.
