Department stores, showcases of Art Deco in France

wp:paragraph {"align": "left"} La Samaritaine department stores' reopened more than 1 year ago. Closed since 2005, the historic Parisian department store has been reborn after lengthy restoration work carried out by the Monuments Historiques department to restore the Art Nouveau and Art Deco buildings, which make up an exceptional architectural ensemble. At the beginning of the 20th century and during the Roaring Twenties, a bourgeois clientele came to the department stores to find the latest trends in fashion, then gradually in furnishings. This article looks at the places and events that contributed to the spread of Art Deco, including department stores. More than 1 year ago, the Samaritaine department stores' reopened. Closed since 2005, the historic Parisian department store has been reborn after lengthy restoration work carried out by the Monuments Historiques department to restore the Art Nouveau and Art Deco buildings, which make up an exceptional architectural ensemble. At the beginning of the 20th century and during the Roaring Twenties, a bourgeois clientele came to the department stores to find the latest trends in fashion, then gradually in furnishings. This article looks at the places and events that contributed to the spread of Art Deco, including department stores. /wp:paragraph wp:image {"align": "center", "id":18185, "sizeSlug": "large", "linkDestination": "none"} View of the extraordinary glass roof of La Samaritaine's Pont Neuf building, completely restored for the shop's reopening. Photograph © Stéphane Aboudaram, We Are Contents View of the extraordinary glass roof of La Samaritaine's Pont Neuf building, fully restored for the shop's reopening. Photograph © Stéphane Aboudaram, We Are Contents /wp:image wp:image {"align": "center", "id":18186, "sizeSlug": "large", "linkDestination": "none"} Restoration of the 115 m2 fresco under the great glass roof, the peacocks can parade again! © JND. Restoration of the 115 m2 fresco under the large glass roof, the peacocks can parade again! © JND. /wp:image wp:paragraph Paris, 1910. Art Nouveau, which had been triumphant since the end of the 19th century, was in its final hours. It was succeeded by Art Deco, short for "Decorative Arts", which introduced a less bombastic aesthetic language. The arabesques and ornamentation inspired by living forms were replaced by a much more sober architectural and design style, with geometric lines that imposed a return to classical rigour. However, the decorator still enjoyed a degree of freedom, designing furniture using luxurious and exotic materials. The form changed and became more sober, but the purpose remained decorative. Paris, 1910. Art Nouveau, which had been triumphant since the end of the nineteenth century, was in its final hours. It was succeeded by Art Deco, short for "Decorative Arts", which introduced a less bombastic aesthetic language. The arabesques and ornamentation inspired by living forms were replaced by a much more sober architectural and design style, with geometric lines that imposed a return to classical rigour. However, the decorator still enjoyed a degree of freedom, designing furniture using luxurious and exotic materials. The form changed and became more sober, but the purpose remained decorative. /wp:paragraph wp:paragraph In 1901, a small group of architects and artists founded the Société des Artistes Décorateurs to promote and disseminate the quality of French craftsmanship elevated to the rank of art (tapestry, cabinetmaking, silverware, ceramics, glassware, ironwork, etc.), and to claim the status of artist for the decorator. From then on, decorative artists had the same copyright as painters and sculptors. In 1901, a small group of architects and artists founded the Société des Artistes Décorateurs to promote and disseminate the quality of French craftsmanship elevated to the rank of art (tapestry, cabinetmaking, goldsmithing, ceramics, glassmaking, ironwork, etc.), and to claim the status of artist for decorators. In 1904, they created the Salon des Artistes Décorateurs (SAD), which was to play an important role in the expression and dissemination of Art Deco in France. The SAD was one of the first annual professional events to showcase furniture and ensembles designed by French decorators. The show quickly became the benchmark for the furniture industry. Places were at a premium to exhibit work at the show: a merciless jury deliberated. In 1904, they created the Salon des Artistes Décorateurs (SAD), which was to play an important role in the expression and dissemination of Art Deco in France. The SAD was one of the first annual professional events to showcase furniture and ensembles designed by French decorators. The show quickly became the benchmark for the furniture industry. Places were at a premium to exhibit work at the show: a merciless jury deliberated. /wp:paragraph wp:image {"align": "center", "id":18187, "sizeSlug": "full", "linkDestination": "none"} Interior of a room presented at the 1927 SAD. Interior of a room presented at the 1927 SAD. /wp:image wp:image {"align": "center", "id":18188, "sizeSlug": "full", "linkDestination": "none"} Reception desk presented at the 1928 Salon des Artistes Décorateurs. Designed by Jacques-Émile Ruhlmann, one of the best-known decorators of his time. Reception desk presented at the 1928 Salon des Artistes Décorateurs. Designed by the decorator Jacques-Émile Ruhlmann, one of the best known at the time /wp:image wp:image {"align": "center", "id":18189, "sizeSlug": "full", "linkDestination": "none"} Booklet for the 1929 Salon des Artistes Décorateurs Booklet for the 1929 Salon des Artistes Décorateurs /wp:image wp:paragraph In addition to the Salon des Artistes Décorateurs, Parisian department stores became a showcase for French craftsmanship in the field of furnishings and contributed to the development of Art Deco. At the beginning of the 20th century, a number of leading businessmen had gigantic shops built in the Art Nouveau and then Art Deco styles, which became temples to modern consumerism. Their stroke of genius was to invent experiential marketing before its time. We owe them, for example, the first fitting rooms, illustrated catalogues, and the reading room so that husbands could occupy themselves while their wives shopped. In addition to the Salon des Artistes Décorateurs, the Parisian department stores became a showcase for French craftsmanship in furniture and contributed to the rise of Art Deco. At the beginning of the 20th century, a number of leading businessmen had gigantic shops built in the Art Nouveau and then Art Deco styles, which became temples to modern consumerism. Their stroke of genius was to invent experiential marketing before its time. We owe them, for example, the first fitting rooms, illustrated catalogues, or the reading room so that husbands could occupy themselves while their wives shopped. /wp:paragraph wp:image {"align": "center", "id":18190, "sizeSlug": "large", "linkDestination": "none"} Les Grands Magasins La Samaritaine in 1935, press photograph by Agence Meurisse, source: https://gallica.bnf.fr/. Les Grands Magasins La Samaritaine in 1935, Agence Meurisse press photograph, source: https://gallica.bnf.fr/. /wp:image wp:image {"align": "center", "id":18191, "sizeSlug": "full", "linkDestination": "none"} Interior of Le Bon Marché department stores', circa 1920. The shelves are organised around a number of skylights that provide light all the way down to the ground floor. Archives of Le Bon Marché Rive Gauche. Interior of Le Bon Marché department stores', circa 1920. The departments are organised around numerous skylights that distribute light to the ground floor. Archives of Le Bon Marché Rive Gauche. /wp:image wp:paragraph The formula worked and gradually the bosses of these department stores came up with another brilliant idea: to combine commerce with works of art and luxurious furniture to create a refined atmosphere. As early as 1880, Le Bon Marché department stores' offered its customers pieces of furniture (curtains and chairs) that it had made and displayed in the furniture gallery in the department store's annex. In 1923, Le Bon Marché entrusted French cabinetmaker and decorator Paul Follot with the management of "Pomone", the department store's art studio. Le Bon Marché offered its customers all the creations of the applied arts and drew a great deal of inspiration for its designs from the great Art Deco decorators of the time, such as Jacques-Emile Ruhlmann, Jules Leleu, Louis Süe and Maurice Dufrène. Department stores became a place where Art Deco could be seen, in tune with the modern expectations of the new consumer. The formula worked, and gradually the department stores' bosses came up with another brilliant idea: combining works of art and luxury furniture with retail to create a refined atmosphere. As early as 1880, Le Bon Marché department stores' offered its customers pieces of furniture (curtains and chairs) that it had made and displayed in the furniture gallery in the department stores' annex. In 1923, Le Bon Marché entrusted French cabinetmaker and decorator Paul Follot with the management of "Pomone", the department store's art studio. Le Bon Marché offered its customers all the creations of the applied arts and drew a great deal of inspiration for its designs from the great Art Deco decorators of the time, such as Jacques-Emile Ruhlmann, Jules Leleu, Louis Süe and Maurice Dufrène. The department stores became a place for disseminating Art Deco, in line with the modern expectations of the new consumer. /wp:paragraph wp:image {"align": "center", "id":18192, "sizeSlug": "large", "linkDestination": "none"} Dining room designed and decorated by Paul Follot and published by Pomone. Dining room designed and decorated by Paul Follot and published by Pomone. /wp:image wp:image {"align": "center", "id":18193, "sizeSlug": "full", "linkDestination": "none"} Dining room table in blackened pearwood, designed by Paul Follot for Ateliers Pomone. Dining table in blackened pearwood, designed by Paul Follot for Ateliers Pomone. /wp:image wp:image {"align": "center", "id":18194, "sizeSlug": "full", "linkDestination": "none"} Armchairs in blackened pearwood with basket back and detached armrests with flat cuffs, designed by Paul Follot for Ateliers Pomone. Armchairs in blackened pearwood with basket back and detached armrests with flat cuffs, designed by Paul Follot for Ateliers Pomone /wp:image wp:paragraph Like Le Bon Marché, in 1922 Les Galeries Lafayette Hausmann also opened its own applied arts workshops under the name "La Maîtrise". Interior architect and chief decorator Maurice Dufrène took over as artistic director. Among La Maîtrise's collaborators were the decorators Jean and Jacques Adnet. Jean Adnet was an active member of the Société des Artistes Décorateurs and became a renowned specialist in the art of display. Like Le Bon Marché, Les Galeries Lafayette Hausmann also opened its own applied arts workshops in 1922 under the name "La Maîtrise". Interior architect and chief decorator Maurice Dufrène took over as artistic director. Among La Maîtrise's collaborators were the decorators Jean and Jacques Adnet. Jean Adnet was an active member of the Société des Artistes Décorateurs and became a renowned specialist in the art of display. /wp:paragraph wp:image {"align": "centre", "id":18195, "sizeSlug": "full", "linkDestination": "none"} A copy of the 1922 brochure for the Galeries Lafayette department stores' devoted to its applied arts workshops, called La Maîtrise and directed by Maurice Dufrène. The illustration is by Jack Roberts. Copy of the 1922 leaflet from the department stores' Aux Galeries Lafayette dedicated to its applied arts workshops called La Maîtrise and directed by Maurice Dufrène. The illustration is by Jack Roberts. /wp:image wp:image {"align": "center", "id":18196, "width":600, "height":600, "sizeSlug": "full", "linkDestination": "none"} Copy of the 1922 Aux Galeries Lafayette department store brochure dedicated to the creations of the La Maîtrise applied arts workshops. Copy of the 1922 Aux Galeries Lafayette department store brochure devoted to the creations of the La Maîtrise applied arts workshops. /wp:image wp:image {"align": "center", "id":18197, "sizeSlug": "full", "linkDestination": "none"} Art deco cabinet by Maurice Dufrène, circa 1928. 2-door cabinet made of violet and violet wood veneer, exotic hardwood marquetry, silver-plated metal inlay. Carved and fluted legs with blackened details. Art Deco cabinet by Maurice Dufrène, circa 1928. 2-door cabinet made of violet veneer and violet wood, exotic hardwood marquetry, silvered metal inlay. René Guilleré, founder of the Société des Artistes Décorateurs, was a pioneer in the installation of art studios in department stores. In 1912, he was the first to convince the Printemps department stores to produce their own furniture and objets d'art. The result was La Primavera, the department store's art studio founded by Jules Jaluzot and Augustine Figeac. The influence of department stores on fashion and furnishings was such that the art studios at Printemps, Galeries Lafayette and Bon Marché, as well as those at the Louvre, were each awarded a pavilion at the heart of the French section of the 1925 International Exhibition of Modern Decorative and Industrial Arts. René Guilleré, founder of the Société des Artistes Décorateurs, was one of the first to set up art studios in department stores. In 1912, he was the first to convince the Printemps department stores to produce their own furniture and objets d'art. The result was La Primavera, the department store's art studio founded by Jules Jaluzot and Augustine Figeac. The influence of department stores on fashion and furnishings was such that the art studios at Printemps, Galeries Lafayette and Bon Marché, as well as those at the Louvre, were each awarded a pavilion at the heart of the French section of the 1925 International Exhibition of Modern Decorative and Industrial Arts. /wp:paragraph wp:image {"align": "center", "id":18198, "sizeSlug": "full", "linkDestination": "none"} The Printemps department stores' pavilion, Primavera, built for the Exposition internationale des arts décoratifs et industriels modernes, Paris, 1925. The Printemps department store pavilion, Primavera, built for the Exposition internationale des arts décoratifs et industriels modernes, Paris, 1925. /wp:image wp:image {"align": "center", "id":18199, "sizeSlug": "full", "linkDestination": "none"} Interior of the Printemps department stores' pavilion, Primavera, built for the Exposition internationale des arts décoratifs et industriels modernes, Paris, 1925. Interior of the Printemps department store pavilion, Primavera, built for the Exposition internationale des arts décoratifs et industriels modernes, Paris, 1925. /wp:image wp:image {"align": "center", "id":18200, "sizeSlug": "large", "linkDestination": "none"} Map "The crowd in front of the 'POMONE' pavilion, Atelier d'Art Moderne du Bon Marché", Exposition internationale des arts décoratifs et industriels modernes, Paris, 1925. Card "The crowd in front of the 'POMONE' pavilion, Atelier d'Art Moderne du Bon Marché", Exposition internationale des arts décoratifs et industriels modernes, Paris, 1925. /wp:image wp:image {"align": "center", "id":18201, "sizeSlug": "large", "linkDestination": "none"} Paul Follot strolling through the Pomone pavilion at the Exposition internationale des arts décoratifs et industriels modernes, Paris, 1925. Archimarti photograph - Own work, CC BY-SA 4.0 Paul Follot strolling through the Pomone pavilion at the Exposition internationale des arts décoratifs et industriels modernes, Paris, 1925. Archimarti photograph - Own work, CC BY-SA 4.0 /wp:image wp:image {"align": "center", "id":18202, "sizeSlug": "large", "linkDestination": "none"} Dining room in the Pomone Pavilion at the Exposition internationale des arts décoratifs et industriels modernes, Paris, 1925. The decoration is by Paul Follot. Archimarti photograph - Own work, CC BY-SA 4.0 Dining room in the Pavillon Pomone at the Exposition internationale des arts décoratifs et industriels modernes, Paris, 1925. The decoration is by Paul Follot. Archimarti photograph - Own work, CC BY-SA 4.0 /wp:image wp:image {"align": "center", "id":18203, "sizeSlug": "full", "linkDestination": "none"} Map "Le pavillon des Magasins 'Aux Galeries Lafayette'", Exposition internationale des arts décoratifs et industriels modernes, Paris, 1925. Map "Le pavillon des Magasins 'Aux Galeries Lafayette'", Exposition internationale des arts décoratifs et industriels modernes, Paris, 1925. /wp:image wp:paragraph The Exposition internationale des arts décoratifs et industriels modernes marked the apogee of the Art Deco style. The event had an international impact and played an undeniable role in the worldwide dissemination of French Art Deco. French architects and artists were in great demand in the following decade, working on many ambitious projects. In 1935, the liner Le Normandie set sail from Le Havre for New York. On board, the "must" of French Art Deco know-how. The interior design was supervised by architects and decorators Richard Bouwens de Boijen, Roger Henri-Expert, Pierre Patout and Henri Pacon, who brought together the best French craftsmen of the time. The International Exhibition of Modern Decorative and Industrial Arts marked the apogee of the Art Deco style. The event had an international impact and played an undeniable role in the worldwide dissemination of French Art Deco. French architects and artists were in great demand in the following decade, working on many ambitious projects. In 1935, the liner Le Normandie set sail from Le Havre for New York. On board, the "must" of French Art Deco know-how. The interior design was supervised by architects and decorators Richard Bouwens de Boijen, Roger Henri-Expert, Pierre Patout and Henri Pacon, who brought together the best French craftsmen of the time. /wp:paragraph wp:heading {"textAlign": "right", "fontSize": "medium"} François Boutard François Boutard /wp:heading

Department stores, showcases of Art Deco in France

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