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The Metropolitan Museum of Art Bulletin
Winter 1979/80

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he Metropolitan Museum's
involvement with the decorative
arts of this century is one of long
standing. A decade of intense collecting
began in 1922, when
Edward C. Moore, Jr., donated a
generous sum for the purchase of
objects of the finest quality from
America and Europe. Thanks to
the discriminating eye of Joseph
Breck, the Curator of Decorative
Arts, the fund was used judiciously
to buy examples of the now celebrated
Art Deco style. Upon
Breck's death in 1933, the impetus
for collecting temporarily lapsed,
but a succession of exhibitions
already underway continued as
planned. Inspired by the 1925
Paris Exposition, Richard Bach,
the Museum's Director for Industrial
Relations, organized a series
of shows presenting innovative
design. For "The Architect and the
Industrial Arts," which opened in
February 1929, a committee of
architects headed by Eliel Saarinen
created room settings with specially
manufactured furnishings.
The spectacularly popular exhibition
drew an unprecedented attendance
of 185,256, and was
extended from six weeks to seven
months. In 1934 architects were
joined by the first generation of
American industrial designers, as
exhibits by Donald Deskey, Raymond
Loewy, and Gilbert Rohde
were featured. The program was
discontinued during World War II.
Interest in the field of twentiethcentury
decorative arts was slow to
regenerate after the war. It was not
until 1966 that the Museum made
another major acquisition with the
purchase of an entire dining
room-wood paneling, murals, and
furniture-created for a Parisian
townhouse between 1910 and
1914. The ensemble by the Sym-
bolist painter Lucien Levy-Dhurmer
evokes an exotic garden, with
carved wisteria overhanging the
painted murals. The detail on the
opposite page illustrates the room
as it stood in Paris; now dismantled
and in storage, it awaits reassembly
in the Southwest Wing, still
to be built in the final phase of the
Museum's master plan.
Modern art in all its aspects was
given new focus at the Metropolitan
in 1967 with the establishment
of the Department of Contemporary
Art, soon renamed Twentieth
Century Art. At the instigation
of Henry Geldzahler, who was head
of the department until 1978, Pen-
elope Hunter-Stiebel, Assistant
Curator and author of this publication,
brought out of storage
Breck's outstanding purchases of
the 1920s and began again the
systematic building of the collection,
extending from Art Nouveau
to contemporary Studio Craft.
The best of modern decorative
arts is today sought by collectors
and museums the world over.
The support of the Friends of
Twentieth-Century Decorative Arts,
whose contributions have created
the first purchase fund since the
1922 Moore gift, promises new
vitality to the Metropolitan in the
now highly competitive field it pioneered
half a century ago.
PHILIPPE
De MONTEBELLO
Director
The Metropolitan Museum of Art Bulletin Winter 1979/1980
Volume XXXVII, Number 3 (ISSN 0026-1521)
Published quarterly. Copyright 1979 by The Metropolitan Museum of Art, Fifth Avenue and 82nd Street, New York, N.Y. 10028. Second-class postage
paid at New York, N.Y. and Additional Mailing Offices. Subscriptions $1 1 .50 a year. Single copies $2.95. Sent free to Museum members. Four weeks' notice
required for change of address. Back issues available on microfilm, from University Microfilms, 313 N. First Street, Ann Arbor, Michigan. Volumes I-XXVIII
(1905-1942) available as a clothbound reprint set or as individual yearly volumes from Arno Press, 3 Park Avenue, New York, N.Y. 10016, or from the
Museum, Box 255, Gracie Station, New York, N.Y. 10028. Photography in this issue by Sheldan Collins, Metropolitan Museum Photograph Studio. General
Manager of Publications: John P. O'Neill. Editor in Chief of the Bulletin: Joan Holt. Associate Editor: Joanna Ekman. Design: Alvin Grossman
On the cover: Detail of the mural from the Grand Salon of the liner Normandie (see pages 32-35). Frontispiece: Detail of the Wisteria Dining Room by Lucien
Levy-Dhurmer (1865-1953). 1910-14. Harris Brisbane Dick Fund, 66.244.1-26
1
The Metropolitan Museum of Art
is collaborating with JSTOR to digitize, preserve, and extend access to
The Metropolitan Museum of Art Bulletin ®
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he decorative arts of the
twentieth century cannot be
considered without acknowledging
that the creation of objects
appealing to both hand and eye,
for use and decoration, is a prac-
tice as old as civilization itself. A
distance of centuries makes it
easier to appreciate and evaluate
these objects as art, for nostalgia
tends to cloud our view in dealing
with artifacts of eras we can
remember. Where art is concerned,
however, age or the lack of it
should be subordinate to the
central issue of quality. A work that
is badly designed and shoddily
made should not be sanctioned
only because it has survived a
hundred years or more; nor should
one be dismissed because it
cannot qualify as antique. The
challenge of collecting twentiethcentury
decorative arts is to
divorce oneself from the emotional
bias of memory in order to judge
each work in the perspective of its
predecessors and for the degree to
which it succeeds in fulfilling the
aims of its creator. As a repository
of works from past epochs and
foreign cultures, The Metropolitan
Museum of Art affords a unique
vantage point from which to scan
the accomplishments of this
century.
The single most important factor
setting our age apart from others
has been industrialization. In the
continuous dialogue concerning
the decorative arts and the
machine, there has been a
constant dispute over the aesthetic
and moral value of objects fashioned
by skilled handwork as
opposed to those made in quantity
by mechanized processes. On the
one hand, the traditionalists have
sought to humanize the industrial
age by embellishment. On the
other, the modernists have
espoused an ideology of puritanical
socialism and Platonic
idealism, inveighing against what
they perceive to be the anachronistic
traditions of those who create
beautiful objects for the privileged
few. Out of their various manifestos
comes a common theme, that the
aim of the decorative or applied
arts should be to create perfect
forms standardized to accommodate
the needs of modern
everyday life.
Although modernism appeared
briefly in Vienna about 1900, it
found its most effective spokesman
during the 1920s in the great architect
Le Corbusier. Modernistheory
was given its most thorough application
at the Bauhaus, founded by
the architect Walter Gropius in
1919. This German institute was
dedicated to the creation of proto-
types for industrial production. In
the fourteen years of its existence,
the Bauhaus developed mechanistic
designs featuring metal, glass,
and other industrialized materials.
It then became the dominant influence
on a subsequent generation
of architects and designers
working in what was to be iden-
tified from the 1930s on as the
International Style.
he most serious interpreters
of twentieth-century decorative
arts have been historians of
the International Style, who have
treated only those aspects that can
be construed as prefiguring or
contributing to the style. A broader
vision must apply in a museum of
the Metropolitan's encyclopedic
scope, which imposes a pluralistic
aesthetic on anyone exposed to
works of art as diverse as Chinese
Buddhas and Renaissance altarpieces.
It is logical, then, that the
Museum should attempt to acquire
important works in every significant
mode. In modern decorative arts
the Metropolitanaturally tends
At the end of the nineteenth century a
desire for novelty infused the arts of
Europe and America. This found expression
in such outbursts of fantasy as Carlo
Bugatti's imaginative turn-of-the-century
secretary replete with Moorish arches and
inlays of pseudo-calligraphy (see detail on
the opposite page). Working in Milan,
Bugatti (1855-1940) gained considerable
notoriety for his exotic furniture. The
animal sculptures of his younger son,
Rembrandt, also won recognition, but it
was the classic automobile of his older
son, Ettore, that made the name Bugatti
famous.
Vellum, walnut, copper, pewter, and mirror
glass, h. 88 in. Purchase, Edward C.
Moore, Jr Gift, 69.69
toward those works that continue
traditions represented in its historic
collections, but the field has too
long been dealt with as an afterthought
and is just beginning to
come into its own. The following
pages illustrate examples from the
Metropolitan's collection, which
cannot yet tell the full story of the
decorative arts in this century.
They do, nonetheless, bear
witness to a sequence of styles,
and to moments in the history of
art that have not received their
due. The works of Art Nouveau,
Wiener Werkstatte, Art Deco,
Moderne, Scandinavian Modern,
and the Studio Craft Movement
deserve attention as successive
manners by which art has transformed
the environment of our
time.
PENELOPE
HUNTER-STIEBEL
3
The Metropolitan Museum of Art
is collaborating with JSTOR to digitize, preserve, and extend access to
The Metropolitan Museum of Art Bulletin ®
www.jstor.org

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A rt Nouveau, the first decorative style
of the twentieth century, emerged in
the 1890s to challenge the historicism of
revival styles that held sway at the time. Its
advocates broke with the past and sought
to engender a new art for the new century,
drawing on the forms and forces of nature.
Flowering vines, waves, a woman's
flowing hair, and even organic abstraction
are described by an undulating line that is
the hallmark of Art Nouveau.
The origins of the style can be traced, in
part, to the writings of William Morris, who
had focused attention on the need for a
renewed energy in the decorative arts. But
while Morris found his ideal in the European
Middle Ages, the practitioners of Art
Nouveau looked for aesthetic direction to
Japan, opened to the West since the
1850s. Contrary to the tenets of the Arts
and Crafts Movement initiated by Morris,
commerce and the machine bore no
stigma, and every attempt was made to
tailor art production to current economics.
In Paris the new style was named,
popularized, and discreetly molded by the
art dealer Samuel Bing, already established
in the field of Japanese art. In
December 1895 he issued invitations to
the public and press to the reopening of
his gallery transformed into the "Salon de
I'Art Nouveau." Here he exhibited contemporary
objects and furnishings alongside
paintings and sculptures by Pierre
Bonnard, Edouard Vuillard, Mary Cassatt,
Auguste Rodin, and others. His firm then
expanded into the manufacture of applied
arts designed by artists that he selected.
Bing's major triumph, and the triumph of
the new style, came at the Paris Exposition
Universelle of 1900, where the "Art
Nouveau Bing" pavilion contained entire
rooms by the designers Edward Colonna
(1862-1948) and Georges de Feure
(1868-1928).
Restraint distinguished Bing's approach,
and the artists working for him avoided the
more flamboyant aspects of Art Nouveau.
Colonna devised curvilinear flourishes to
enliven the corners of a basically conservative
table, a model featured in Bing's
1900 Exposition pavilion. Colonna's addition
of a swirling silver collar and attenuated
handle transformed an unassuming
ceramic by Alexandre Bigot into a
precious object worthy of Bing's showcases.
On de Feure's vase, below, the
arch of a swan's neck echoes the
emphatic sweep of a flower stem, but the
decoration is kept within strict limits. His
use of negative space accords with Bing's
advocacy of the principles of Japanese
art. In this vase, as in many examples of
Art Nouveau, the strength of the design
overcomes the indifference of its commercial
execution.
Table. About 1900. Palisander wood. Jug.
1899. Glazed stoneware with silver mount,
h. 31/8 in. Vase. About 1900. Porcelain, h.
121/2 in. Purchase, Edward C. Moore, Jr
Gift. 26.228.4, 7,9
5

mages of women pervade Art
Nouveau, but the modish young lady
on de Feure's fan is far from the typical
siren. Her reverie transforms a city park
into a hallucinatory vision in which everything,
as in a distorting mirror, seems to
turn in on itself: the city buildings
reflected upside-down in a pond, an
impossibly poised tree, and the twisting
lilies that loom almost ominously in the
foreground are all locked into a sinuous
linear pattern. The theme is chosen with
piquant symbolism for the decoration of
a fan destined to relieve the atmosphere
oppressing a lady of aesthetic bent.
About 1900. Printed silk, celluloid sticks
witli ivory I. 8 in. Purchase, Edward C.
Moore, Jr Gift. 26.228.19

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An early center of Art Nouveau developed
at Nancy, in the French province
of Lorraine, under the leadership of
the glass and furniture designer Emile
Galle. Beginning in the 1880s, Galle
exhorted his colleagues to derive their
ornament from the direct study of nature,
citing the precedent of Japanese art. This
naturalisticoncern is evident in details of
the Museum's dressing table-sink by Louis
Majorelle (1859-1926), a prominent
member of Galle's circle. The bronze
pulls, cast in the form of leaves and
berries, are typical of the Ecole de Nancy
Majorelle, however, went beyond the
surface application of floral ornament to a
fundamental reinterpretation of structure
along organic lines, and was, as a result,
considered the eccentric of the group. In
this unique work, commissioned by
Eugene Corbin, a noted patron of the
Ecole de Nancy, Majorelle incorporated
the technology of modern plumbing in a
bold artistic statement, creating a structure
that branches majestically outward
like a lofty tree rising from a massive base.
1900-10. Honduras mahogany Macassar
ebony gilt-bronze, mirror glass, with
marble top, h. 86% in. Gift of The Sydney
and Frances Lewis Foundation, 1979.4
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F avrile glassware, patented in 1894,
established Louis Comfort Tiffany
(1848-1933) as America's leading exponent
of Art Nouveau. The flowing contours
and iridescent colors, as well as
the floral imagery of these vases, make
them exemplary expressions of the
style, although many other products of
Tiffany Studios bore no reference to it.
Under the aegis of Samuel Bing,
Tiffany's fame became international.
The two met in 1893 when Bing was
engaged in a survey of American decorative
and industrial art for the French
government. A close relationship developed
in which Bing supplied oriental art
to Tiffany, and, in turn, became Tiffany's
exclusive European distributor, feeding
appropriate works into the mainstream
of Art Nouveau.
(Left to right) 1892/3-96. H. 27/8 in. Gift
of H. O. Havemeyer, 96.17.46. Late 19thearly
20th century. H. 15112 in. Anonymous
Gift, 55.213.27 1898. H. 18/11/6 in.
Gift of the Louis Comfort Tiffany Foundation,
51.121.17. 1902-28. H. 41/16 in.
Anonymous Gift, 55.213.12
In England, the career of Arthur
Lasenby Liberty, founder of Liberty &
Co. in London, paralleled that of Samuel
Bing. Both began as dealers in oriental
imports, progressed to marketing
contemporary European wares, and
finally engaged in the manufacture of
designs conforming to their own tastes.
In 1899 Liberty launched the Cymric line
of silver exemplified by this spoon
commemorating the coronation of
Edward VII in 1902. The design was
commissioned from Archibald Knox
(1864-1933), who has recently emerged
from anonymity as the principal author
of the company style. Knox supplied
designs to Liberty from 1893 to 1912.
initially for textiles, then for metalwork
that, like the spoon, was often embellished
with champleve enamel. Deriving
an endless variety of interlaced ornament
from the Celtic antiquities of his
native Isle of Man, Knox formulated an
unmistakably English version of Art
Nouveau.
L. 8 in. Purchase. Andrew J. Crispo Gift.
1979.69
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Tbearhitcof Hoffmann (1870-
5r)ewas rin the forefront of the
crtindtoward rectilinear modernism, far
removed from French Art Nouveau, that
appeared in Vienna at the turn of the
century. This desk set, dating from 1905,
the year Hoffmann received the commission
to build his masterpiece, the Palais
Stoclet in Brussels, embodies his architectural
vision. It illustrates his doctrine that
aesthetic principles should be applied
equally to architecture and the decorative
arts. Hoffmann insisted that an object, no
matter its category or material, could
attain the highest level through the quality
of its design and workmanship.
Inkstand, note-pad holder, pencil holder,
candlestick, and seal. Mother-of-pearl,
ebony leather, and silver, greatest height
41/4 in. Purchase, Anonymous Gift,
1977. 72.1-5
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Josef Hoffmann co-founded the Wiener
Werkstatte in 1903 with the purpose
of bringing together artists and craftsmen
to raise the level of applied arts in Austria.
In 1897 he had participated with other
young artists, including Gustave Klimt,
Egon Schiele, Oskar Kokoschka, and
Koloman Moser, in the Vienna Sezession,
which broke with the conservative
Academy and began to hold independent
exhibitions, in part motivated by the desire
to revitalize the disdained minor arts. After
a trip to England, where they visited
Charles Robert Ashbee's Guild of Handi-
craft, Hoffmann and Moser convinced the
banker Fritz Warendorfer to back a
comparable workshop in Vienna. Under
Hoffmann's direction, the Werkstatte made
and marketed a wide range of products,
from jewelry to wallpaper, until 1932.
The Wiener Werkstatte style followed an
independent course, changing from the
rigorous geometry of early works to a
bizarre glamour that proved popular in the
1920s. The impetus toward baroque
extravagance came from Dagobert Peche,
(1887-1923) who joined the organization
in 1915. His personal and stylistic influ-
ence was pervasive, and the work of his
colleagues was immediately infused with
the nervous brilliance that still radiates
from the fawn improbably perched atop
his jewel box (opposite). Hoffmann, himself
affected by Peche's decorative energy,
abandoned the puritanical grids of his early
work for shimmering surfaces, although
this bowl (below) shows the master retaining
his rational control of proportion.
Jewel box: 1920. Silver-gilt, h. 151/8 in.
Purchase, Anonymous Gift, 1978.8. Bowl:
About 1920. Silver, h. 71/2 in. Gift of
Jennifer Johnson Gregg, 1976.415
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Art Deco, succeeding Art Nouveau in
France, flourished from the close of
World War I until the Depression. These
years, termed "les annees folles,"
witnessed a frenzied quest for the good
things in life that had been jeopardized by
the war. Redoubled in the 1920s was the
craze for fabulous elegance that had been
touched off by the sets and costumes of
Diaghilev's Ballets Russes, which first
performed in Paris in 1909. Although
offshoots and imitations occurred elsewhere,
Art Deco was quintessentially
French, linked to the history of French
decorative arts. Looking to the eighteenth
century as the golden age, the 1920s style
answered the postwar desire for luxury
goods fashioned with consummate
craftsmanship.
French designers and craftsmen
updated an established repertory with
pared-down geometric shapes and the
judicious application of stylized ornament.
They revived forgotten techniques and
employed precious materials, yet their
idiom was distinctly contemporary. This
mirror and fan, for example, fulfill the qualifications
of the traditional objet de luxe,
but convey a strikingly modern chic.
The great 1925 Paris Exposition sponsored
by the French government marked
the apogee of Art Deco. Machinery and
copies of earlier works were specifically
excluded from this mammoth festival that
focused world attention on current French
luxury production. An abbreviation of its
official title, "I'Exposition Internationale
des Arts Decoratifs et Industriels
Modernes," was coined in the 1960s,
when Art Deco was rediscovered by
collectors. The success of the Exposition
was overwhelming. Few were aware of the
pioneering work of the Bauhaus between
1919 and 1933, which was to define the
perimeters of modernism for several
decades. To the public of the 1920s,
modern meant French or French-inspired.
Fan: 1925. By Georges Bastard (1881-
1939). Mother-of-pearl, I. 8%/ in. Mirror:
1921. By Raymond Templier (1891-1968).
Silver with niello, gold, and carnelian, h.
41/2 in. Purchase, Edward C. Moore, Jr
Gift, 25.208, 23.1 72.ab

ormal elegance permeated Art Deco,
down to the smallest item. The spontaneous
convolutions of Art Nouveau were
abandoned in favor of tightly organized
patterns, such as the flower, volute, and
raindrop configurations on these vases,
confined within simple, often spherical or
ovoid shapes. Geometry ruled throughout,
but arcs and ovals yielded over a decade
to angles. The influence of recent trends
in painting was reflected in the gradual
replacement of stylized flowers with cubist
motifs. Small, unique objects, like these
vases, executed in a wide variety of techniques,
played an important role in the
larger context of interior design. They
were often used, with theatrical flair, as
the focal points for entire ensembles
by artistes decorateurs, the master
designers and interior decorators who
dominated Art Deco.
(Left to right) Vase: About 1923. By Jean
Dunand (1877-1942). Brass plated with
silver, h. 10/4 in. Vase: 1925-30. By Rene
Buthaud (b. 1886). Glazed stoneware, h.
131/2 in. Vase: 1925. By Emile Lenoble
(1875-1939). Glazed stoneware, h. 121/2
in. Jar: About 1929. By Henry Simmen
(18 79-1963); cover by Mme O'Kin
Simmen. Glazed stoneware, wood, and
ivory h. 6 in. Purchase, Edward C. Moore,
Jr. Gift, 23.206,69.289.1, 25.210,29.127.2ab
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Jacques-Emile Ruhlmann (1879-
1933) was generally acknowledged
as the leader of the Art Deco style. The
artiste decorateur par excellence, he
showed furniture in the salons of the
Societe des Artistes Decorateurs from
1913 and undertook interior design with
his own firm of Ruhlmann et Laurent
after the war. His pavilion, tellingly titled
"I'Htel d'un Riche Collectionneur," was
the most popular exhibit at the 1925
Exposition. Ruhlmann used ebenisterie.
the technique of veneered furniture
perfected in eighteenth-century France,
to execute designs distilled from earlier
furniture forms. The Metropolitan's desk
and file cabinet were commissioned
by David David-Weill, president of the
National Museums of France, for use
in his own home, where they.were
surrounded by the eighteenth-century
art of which David-Weill was a
renowned collector.
I
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Desk: About 1918-19. Amboyna, ivory.
and sharkskin, I. 4 7/2 in. Purchase.
Edgar Kaufmann. Jr. Gift, 1973.154.1.
File cabinet: About 1918-19. Amboyna
and ivory. h. 271/2 in. Purchase, Bequest
of Collis P Huntington. by exchange,
1973.154.3. Chair: 1918-28. Amboyna,
silvered bronze, and leather, h. 29% in.
Purchase, Bequest of Mr. and Mrs.
Graham F Blandy. Bequest of Jeanne
King de Rham, in memory of her father,
David King, and Gift of Vera Bloom, in
memory of her father, Congressman Sol
Bloom, by exchange, 1973.154.2

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lawless quality was maintained in
Ruhlmann's workshops, where the
highest paid artisans in Paris were
employed under his close supervision. The
extravagant prices he asked were justified
by the elegance of his concepts and their
superb execution. Details of the work
reveal the lengths to which Ruhlmann was
willing to go to realize his exquisite
designs. To further enhance the effect of
luxury he contrasted ivory ornament
against exotic wood veneers in seemingly
simple designs that were extraordinarily
difficult to execute, for example,the hairline
ivory fillets on the drawers of the file
cabinet and defining each facet of the
torpedo-shaped leg of the desk(pp.20-21).
23

cquired in 1923, Ruhlmann's fallfront
desk (below) was the Metropolitan's
first important purchase of
twentieth-century decorative art. Ruhlmann
was called "the Riesener of the
twentieth century" and the claim bears
up in comparing his works with those of
the favorite cabinetmaker of Marie
Antoinette in the Museum's collection.
Convinced of Ruhlmann's merit, the
Metropolitan wanted to acquire a showpiece
adorned with a marquetry basket
of flowers featured in the 1925 Exposition.
That cabinet, however, was sold to
the French State, and only after considerable
persuasion did the artist agree to
repeat the model (opposite page) for the
Museum.
Desk: Macassar ebony, ivory, and
leather, h. 441/4 in. Chair: Macassar
ebony and silvered bronze, h. 3312 in.
Cabinet: Macassar ebony, rosewood,
and ivory, h. 50/4 in. Purchase, Edward
C. Moore, Jr. Gift, 23.174,25. 231.3,1
24

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Art Deco style. The oriental method of
applying layer on layer of 'resins, which he
had first used to decorate hammered
metal vases, became his all-consuming
craft. Dunand eventually had to employ up
to one hundred Indo-Chinese assistants in
his Paris workshop to help him complete
orders for lacquer panels, screens, and
furniture that flowed in from architects,
artistes decorateurs, and private clients.
This pair of screens, titled Battle of the
Angels: Crescendo and Pianissimo, was
commissioned for the music room of Mr.
and Mrs. Solomon R. Guggenheim's Long

Island home. Golden airborne figures
designed by Seraphin Soudbinine (1870-
1944), a favorite student of Rodin, charge
through clouds interpreted by Dunand in
shattered eggshell pressed into a damp
layer of lacquer. Dunand was so lavish in
his use of gold for angels that he was
obliged to write requesting an additional
500 dollars to cover his expenditure. The
heroic figural aspect of Art Deco never
received great emphasis in France, but it
was quickly adopted for architectural
ornament in the United States, notably at
Rockefeller Center.
1925-26. Lacquered wood, h. 98 in. Gift
of Mrs. Solonion R. Guggenheim,
50.1023.4

i'
s
aurice Marinot (1882-1960) was
the first artist of the modern
period to master the arduous skill of
glassblowing. Originally a Fauvist
painter, who participated in the 1913
Armory Show, he became fascinated
with the molten medium in 1911 on a
visit to a glass factory owned by friends
at Bar-sur-Seine. With these facilities put
at his disposal he first worked on the
decoration of finished pieces while
apprenticing himself to the glassblowers,
or gaffers. It was not until 1922
that he felt he could exhibit glass he had
blown himself. His interpretations of the
life of the material, recording in the
finished piece its transmutation from
liquid to solid, earned him great esteem.
Within simple shapes that relate to Art
Deco, he captured galaxies of change-
able light and substance, surfaces
exploding one within the other. Upon
the closing of the Bar-sur-Seine factory
in 1937, Marinot's work in glass
ceased. It would be another 25 years,
and then in the United States, before
glassmaking would become available to
the independent artist.
Jar and bottle: 1925-29. H. 9 in., 43/4 in.
Rogers Fund, 1970.198.2,3ab
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he couturier Jacques Doucet was an
extraordinary patron of the arts. In
1912 he sold his collection of French
eighteenth-century art at an auction that
broke all records, and used the profits to
acquire avant-garde works. He later
constructed a studio in the Paris suburb
of Neuilly specifically to house his paintings
by Picasso (from whom he
purchased the Demoiselles d'Avignon),
Douanier Rousseau, Braque, Picabia,
and Matisse, as well as his African art.
This stool and table formed part of the
furnishings of the studio, completed only
months before Doucet's death in 1929.
While the shape of the stool by Pierre
Legrain (1889-1929) was certainly
inspired by an African chieftain's throne,
its crisp carving is French stylization. The
table is by an unsung master of Art Deco,
Clement Rousseau (b. 1872), whose
signature was discovered concealed in
the structure by a Museum conservator A
religious medal secreted under the
tabletop was also uncovered and restored
in place. For all their obvious preciousness,
the table's materials are practical,
since sharkskin is impervious to handprints
and the rings left by wet drinking
glasses. The design is also functional, in
that the hairpin legs, which also serve as
handles, make this luxury piece both
portable and sturdy
Stool. 1922-29. Rosewood, h. 12 in.
Table. 1924. Ebony sharkskin, and ivory,
h. 291/2 in. Fletcher Fund, 1972. 283.1,2
30

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his Art D6co mural of 1934 was one
of four covering the corners of the
largest public room ever constructed on a
ship, the Grand Salon of the liner
Normandie. Jean Dupas (1882-1964), an
illustrator and fashionable muralist, chose
the history of navigation as his nominal
subject, but the profusion of quasi-historical
vessels and miscellaneous mythical
creatures was clearly not meant to tell a
story but to create an overwhelming
effect. Passengers on the Normandie
paid not so much for transportation as for
atmosphere, and the first-class lounge
was a temple of glamour
The mirrorlike brilliance of the mural
was achieved by an unusual technique of
glass decoration. Segments of the scene
were painted on the reverse of panels of
plate glass. Gold and silver leaf were then
laid on and a canvas backing affixed.
Only lighting fixtures interrupted the vast
expanse of the juxtaposed glass panels
(the top rank of which could not be
accommodated in the Museum gallery
where the mural has been installed since
1978). Each panel measures approximately
four by two and one-half feet and
weighs between fifty-five and fifty-seven
pounds.
Gift of Dr and Mrs. Irwin R. Berman,
1976.414.3

The Normandie was the last great expression
of French Art Deco. Government
subsidies made it possible for the
Compagnie Generale Transatlantique to
begin in 1932 the building of a ship that
was to be the largest, fastest, and most
beautiful afloat. Such extravagance in the
middle of the Depression was justified by
the purpose the Normandie was intended
to serve. Just as the 1925 Paris Exposition
had wooed the world with French
luxury products, so the Normandie was to
lure Americans to the shores of France,
by bringing to their doorstep the food,
wine, furnishings, and decor for which
France was famed.
New York, which welcomed the
Normandie with wild enthusiasm after her
maiden crossing in 1935, was also to be
the scene of her demise. Seized by the
United States in World War II, the liner
was being stripped for use as a troop
carrier when sparks from an acetelyne
torch started a blaze in the Grand Salon.
Firefighting efforts caused her to capsize
on February 10, 1942, at Manhattan's
Pier 88, where she remained more than a
year before she was righted and towed
away for scrap. Fortunately, the murals
had been removed before the fire.
(Above) Rendering of the Grand Salon of
the Normandie. (Below) The Normandie
in New York Harbor, about 1935-39
34

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" continue to believe that the circle
which explains the world in its entirety
is the ideal figure, and the curve, which
relates to it, is more noble than the
straight line," wrote Jean Puiforcat
(1897-1945) in a letter of 1933. Considered
the last of the great French silversmiths,
Puiforcat used his medium to
search for a Platonic ideal of form
through mathematical harmony He
learned the craft from his father and
began showing his own works in 1922.
They were fine examples of Art Deco
objects, often incorporating semiprecious
stones, but he came to look back on them
as merely chic. In the 1930s he turned to
austere exercises in pure volume and
shape in which the only contrasts are, for
instance, the spheres of clear glass that
punctuate the base of the beaker (above)
or the gilded areas on the covered bowl
(opposite page). Although his work was
sometimes criticized as mechanical, he
rejected the machine as soulless, and
realized seamless geometric forms
through his consummate exploitation of
the silversmith's skills. His purism and
craftsmanship made him acceptable both
to Le Corbusier, the firebrand spokesman
of the International Style in France, and to
the conservative upholders of French
tradition.
Beakers: 1934. Silver and glass, h. 41/2 in.
Silver h. 4 in. Purchase, Edward C.
Moore, Jr Gift, 34.105.2,3. Covered bowl:
1930-40. Silver and silver-gilt, h. 97/8 in.
Purchase, Edgar Kaufmann, Jr Gift,
1972.5
37

he impact of the 1925 Paris Exposition
was strongly felt in America.
French imports were followed by imitations
and adaptations, but the Depression
stanched any development along the lines
of luxury craftsmanship. Designers of the
1930s, following the Bauhaus example,
turned in the direction of industry and
were welcomed for the marketing advantage
their treatment of a product might
gain.
An entirely new style resulted that is
more properly entitled Moderne, sleekly
formulated to evoke French chic, but as
American as Art Deco was French.
Moderne was the look shared by
Hollywood sets and electric toasters, by
Raymond Loewy's locomotives and
Donald Deskey's furniture for the Radio
City Music Hall. Streamlined forms with
glossy surfaces were assembled out of
polished metal, glass, and Bakelite on
factory assembly lines. The result
depended on the skill of a new artistic
profession, that of the industrial designer
Participating in the enthusiasm for what
was sometimes called "beautility," the
Chase Brass & Copper Co. of Waterbury,
Connecticut, made ornamental objects,
like the candlesticks and bud vase (opposite
page), from standard elements of
pipe and sheet metal that comprised the
mainstay of its business. This decorative
dalliance, begun in 1931, terminated with
war production. Gilbert Rohde, working
for the Herman Miller Furniture Co. in
Zeeland, Michigan, also from 1931, introduced
the Moderne line with designs
such as this electric clock. The consequences
were lasting. Rohde's innovative
furniture was so well received at the
1933-34 Chicago Century of Progress
fair that Miller phased out traditional
models and continues to this day as a
leading manufacturer of progressive
designs.
Bud vase. 1936. Chrome, h. 83/4 in. Gift
of Penelope Hunter-Stiebel, 1979.345.
Candlesticks: 1931-41. Designed by
Reimann. Copper, h. 6 in. Clock. About
1935. Brazilian rosewood and chrome, w.
163/4 in. Purchase, The Chace Foundation,
Inc. and Edgar Kaufmann, Jr Gifts,
1976. 382.4,5,3

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T he Moderne style found its most
complete expression in vehicles. The
1930s were the years of the classic automobile,
the luxury train, the first commercial
passenger airplane. An iconography
grew up around speed. Streamlining
reduces air resistance in a meaningful way
only at extremely high speeds, but it
became a device symbolic of the modern
age. With the additional emphasis of wraparound
banding it was applied to everything
from cameras to building fagades.
This aesthetic is reflected in aspects of
the interior decor of Rockefeller Center,
the most ambitious architectural accomplishment
of the decade. Immediately after
the Wall Street crash, John D. Rockefeller,
Jr, undertook this New York real-estate
venture as a personal investment in the
future. Between 1930 and 1939 a city
within a city was erected on a plot
bounded by 48th and 51st streets and
Fifth and Sixth avenues. In this complex,
the building facing Saint Patrick's Cathedral
was designated the "International
Building," symbolizing Rockefeller's
interest in a world community Officially
opened on May 1, 1935, it houses consulates,
international firms, and the U.S.
Passport Agency
In 1978, when Rockefeller Center Inc.
began the installation of 28 high-speed
automatic elevators to serve the 38-story
tower of the International Building, one of
the original cabs was carefully dismantled
for the Metropolitan by the Westinghouse
Elevator Company
The elevators benefited from the same
attention Rockefeller's team of architects
lavished on all public areas of the
complex. The design of the cab visually
alluded to the mechanical advances that
allowed the elevator to travel at record
speed. By a process patented as Metylwood,
thin sheets of Spanish elm were
applied directly to the steel sections that
bolted together to form the cab. The
veneer, laid on so that the grain ran horizontally,
was divided into registers by
strips of metal (a copper, zinc, and nickel
alloy known as German silver), polished to
a satin finish. The back corners of the cab
were rounded off to make a continuous
wrap. An innovative ventilation system was
integrated into the design. In the same
spirit as the wall banding, concentric
circles of metal delineated a ceiling fan
that has come to be standard. Ventilation
grilles at floor and ceiling were designed
as borders for the wraparound walls. The
elevator, exhibited in the Museum, stands
as the visual symbol of technological
advance, epitomizing the Moderne ideal.
(Opposite page) Elevator in the International
Building lobby 1978. (Above)
Interior of elevator by Westinghouse
Electric and Manufacturing Company; cab
by W.S. Tyler Co. H. 8 ft. 1 in. Gift of Westinghouse
Electric Corporation and Rockefeller
Center, Inc., 1979. 110 a-j. (Above
right) Entrance to the International
Building with the figure of Atlas by Lee
Lawrie, about 1937; photograph courtesy
of Rockefeller Center Inc.
41

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enmark entered the world market in
the 1950s with furniture developed
in conscious reaction to the clinical
quality of Bauhaus design. During the
German occupation, architects and
designers for want of larger projects
directed their energy toward work with
furniture craftsmen. Giving attention to
comfort and practicality, they developed
clean forms that emphasized the
sensuous appeal of the natural materials
used. Later, as a result of the international
success of the style known as Danish
Modern, models that had originated in
small workshops were adapted to larger-
scale production.
Hans Wegner (b. 1914) was trained as
a cabinetmaker and went on to design a
series of chairs that have become
classics as much for their comfort as for
their appearance. His method of using
refinements of joinery as ornament can
be seen in the Museum's 1952 chair
(opposite page), where the contrasting
bars at the center of the back are actually
mahogany joints that secure two pieces
of walnut into a continuous crest rail.
Finn Juhl (b. 1912) and Arne Jacobsen
(1902-71) are both architects who have
applied themselves to all aspects of
design. The moulded shells of Jacobsen's
1958 Egg chair and Juhl's 1948 settee
seem to float on supports constructed to
give the illusion of defying gravity These
hovering shapes suggest an imagery
appropriate to the inaugural years of the
space age.
Hans Wegner chair: Made by Johannes
Hansen. Walnut, mahogany and cane, h.
293/4 in. Arne Jacobsen chair: Made by
Fritz Hansen. Ox hide and aluminum, h.
38 12 in. Finn Juhl settee: Made by Niels
Vodder Teak and leather, I. 55%/ in.
Purchase, Edward C. Moore, Jr Gift,
61.7.45,46,47
43

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[n 1951 the industrial art of Finland
ll
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| when it
t t swept the prizes of the Milan
i ^ l Triennale. the prestigious exposition of
ii modern design. The outstanding
I4 ib
, i p J designers were Tapio Wirkkala (b. 1915)
it i! /and Timo Sarpaneva (b. 1926) who
$ I I
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became best known for ornamental
; ! i ~ / ffl1 glassware. an industry that in Finland
i
; i p | f; U |j dates back to the seventeenth century.
U f! ff | . Unlike the unique objects of Marinot
and today's Studio Craft artists.
conceived and executed by the artists
themselves. Wirkkala's and Sarpaneva's
works are designs turned over to skilled
workmen for multiple production. The
distance between the graphic expres-
, k h1@ " sion of the artist's concept and the
meticulous repetition of the final
!
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imbues these works with a cool
i
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r: iiI llll Wirkkala vase (right): 1950. Designed
1 a 4 j gi ^1 ll for Karhula-littala. H. 8'3/16 in.
i i 111 Sarpaneva vase: 1953. Designed for
Karhula-littala. H. 10 /2 in. Gift of Aarne
imonen. Minister of Commerce and
Industry of Finland. 56.31.1.3
9 I

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Certain trends in American culture
since the 1940s have led to the rise
of today's Studio Craft Movement. Its
exponents have effectively eliminated the
division of labor between designer and
craftsman and challenged the prejudicial
distinction between the fine and decorative
arts. Their activities have been
centered at institutions of higher learning,
which have legitimized the choice to
pursue craft disciplines rather than
painting or sculpture and provided a
place for the new breed of artistcraftsmen
to study, work, and teach.
Instead of the workshop or factory, the
new milieu is the studio, where expressions
of a personal vision, in terms of
both functional and nonfunctional
objects, can be realized in the traditional
materials of ceramics, wood, glass, metal,
and fiber.
The upheavals of World War II helped
create a matrix of American college
campuses from which the movement
grew to nationwide proportions from the
isolated accomplishments of artists using
craft techniques. Part of the impetus
came from members of the Bauhaus who
had been forced to flee Europe in the
dark days of the 1930s. They brought to
American academia rigorously moral and
intellectual theories of design. The
Bauhaus concept of the primacy of architecture,
unifying all design, had the effect
of raising the status of media relegated to
the so-called minor arts. The shoddiness
of the industrial environment soon
became an important issue to a discontented
postwar generation. Their search
for aesthetic enrichment led to an exploration
of every branch of the arts,
including preindustrial traditions, and
eventually to the Studio Craft Movement's
rejection of the more rigid, intellectualized
aspects of the Bauhaus approach.
James Prestini (b. 1908) was one of the
early American practitioners and teachers
of Bauhaus principles, to which he gave
individual direction through his own fascination
with the qualities of wood. In 1939
he became woodworking instructor at the
Chicago Institute of Design, founded two
years earlier by Laszlo Moholy-Nagy as
the "New Bauhaus." Prestini continued
teaching the fundaments of pure form
through four decades at Chicago and the
University of Californi at Berkeley These
objects (left) are from a series of variants,
ranging from flat trays to hollowed-out
bowls, that evolved from Bauhaus exer-
cises in the manipulation of materials.
Employing lathe-turning, a basic carpentry
technique, Prestini has created intellectual
essays in which minimal form is used to
focus the eye on the beauty of grain and
color inherent in the wood.
An even more direct link between the
Bauhaus and the Studio Craft Movement
is provided by Anni Albers (b. 1899), who,
through her work, writing, and teaching,
has been largely responsible for the
acceptance of weaving as a contemporary
art form. Weaving was the specialization
she chose during her student years at the
Bauhaus. When the institute was closed
by the Nazis in 1933, she and her
husband, the painter Josef Albers, settled
in North Carolina to teach at Black Mountain
College. This wall hanging, a detail of
which is shown below, was designed in
Germany in the 1920s and rewoven for
exhibition in the United States thirty years
later It transfers to the tactile medium of
fiber the purist aesthetic of modern
abstract painting.
(Left, from top) 1940-50. Birch, curly
birch, Mexican mahogany, diam. 159/16,
8%, 1314 in. Gift of James Prestini, 69.164.
9, 14, 7. (Below) Purchase, Edward C.
Moore, Jr, and Everfast Fabrics, Inc. Gifts,
69.134
47

1
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hough he refused to teach,
Wharton Esherick (1887-1970) is
recognized as a pioneer of the Studio
Craft Movement, and his studio, now a
museum, is a point of pilgrimage. Originally
a painter, he became completely
immersed in woodworking early in his
career. In 1913 he established his
retreat on a hillside near Paoli, a
suburb of Philadelphia, and soon
began to carve every aspect of his
surroundings, from staircase to serving
spoons, while producing furniture for
friends who became his clients. His
1962 cherrywood music stand demonstrates
the freedom of Esherick's work,
taking as its point of departure the
conformation of the wood itself.
H 43 in. Gift of Dr. Irwin R. Berman. in
memory of his father. Allan Lake
Berman. 1979.320
t

lass has become a major medium of
the Studio Craft Movement since
1962, when a seminar held at the Toledo
Museum of Art opened up the possibilities
of glassblowing to the studio artist,
ending its dependence on industry. The
seminar was led by the ceramic artist and
educator Harvey Littleton (b. 1922), who
has been the driving force in the development
of what is virtually a new profession,
in which artists choose glass as their
exclusive medium and master the
gruelling skills of the gaffer Now retired
from his post at the University of
Wisconsin. Littleton continues to produce
powerful abstract works, such as his
1976 Amber Crested Form, a giant folded
tube of blown glass crowned with a
second heavy gather A second generation
of glass artists is represented by Tom
Patti (b. 1943) whose novel method, used
in Banded Flair of 1977, involves stacked
plate glass, heated to the point that it can
be blown into vessels in which vestiges of
the initial structure become decoration.
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Amber Crested Form. H. 16/2 in. Gift of
William D. and Rose D. Barker, 1978.438.
Banded Flair. H. 4 3/ in. Gift of Douglas
Heller and Josh Rosenblatt. 1978.25
:

--,
N o movement has had more than a
handful of outstanding artists who
give character to a style and direction to
the production of others. Wendell Castle
(b. 1932) has assumed this role since his
graduation with a Master of Fine Arts
degree in sculpture from the University of
Kansas in 1961. He has experimented
with furniture as a form of sculpture, freed
from structural convention. The laminated
cherrywood blocks of his 1973 two-seater
are built up to a solid structure and then
carved awav anrl polished to an effect of
visual ;inrd-l tactile flow. Finlike pedestals
.uu;prt angled bucket seats that accom
;, i .int twCo neople in conversational
proximity, an arrangement that .led John
Russell to write in The New York Times.
'Togetherness takes on a new dimension
as we contemplate it Not since the 'indiscretion
sofa' was perfected in the France
of Napoleon III has there been a piece of
furniture that eggs us on so subtly to a
joint and vertiginous well-being."
W 6012 in. Gift of Dr and Mrs. Irwin R.
Berman. 1977.225

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51

Ascientist. Dominick Labino (b.
1910). supplied formulas that would
allow glass to melt at lower temperatures
in small furnaces to the 1962 Toledo
seminar that inaugurated studio glass.
Labino was so drawn to the aesthetic
potential of the material that in 1965 he
gave up his position as a research executive
in the glass industry to become a fulltime
artist. Applying his knowledge of
chemistry. he creates magical effects.
such as the color changes of the dichroic
veils suspended in the 1977 Emergence
in Polychrome (right)
One of the most influential glass artists
working today is Dale Chihuly (b. 1941).
chairman of the glass department at the
Rhode Island School of Design. On these
three blown cylinders (below) Chihuly has
fused patterns. inspired by Navajo
blankets. by rolling the cylinders while
they were still hot over colored glass rods.
The intimate connection of these artists
with their work. from conception through
execution. is typical of and fundamental
to the Studio Craft Movement. Broadly
based across the United States. the
movement has come of age. and the
outlines of a style can be drawn to
encompass the assertive individuality of
its practitioners. Studio Craft artists
submit themselves to age-old disciplines
in which mechanized tools can afford
only marginal assistance. The struggle to
give physical realization to an idea
through the actual working of the materials
imparts a residual dynamism to the
object. In this process the established
vocabulary of shapes is eschewed in
favor of developing forms along lines indicated
by the materials and techniques
themselves. Occasionally. the resulting
work takes on an organic form reminiscent
of Art Nouveau. but a closer point of
reference is the more recent phenomenon
of Abstract Expressionism.
Metallic Serape. 1977. H. 93/8 in.
Purchase. Joseph H. Hazen Foundation.
Inc Gift. by exchange. 1977.132. Child's
Bayetta on Peach. 1977. H. 5'/4 in. Gift of
Dale Chihuly 1977. 138. Wedge Weave.
1976. H. 10'2 in. Purchase. Mr and Mrs.
John H. Hauberg Gift. 1977.131 (Right)
Emergence in Polychrorne. H. 8 1' in. Gift
of Mr and Mrs. Dominick Labino.1977. 473
ntering the final decades of the
twentieth century with the decorative
arts as vital as they were in 1900. we
can look back on a succession of
vigorous styles and inspired individual
works that can match the record of any
earlier age.
52

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