Trained designers arriving from Vienna, Berlin, and Eastern Europe brought to the United States new cultural influences and aesthetics, especially an interest in industrial design and the American skyscraper. It was at this fair that the founder of Cleveland’s Rose Iron Works discovered the Hungarian-born metalwork designer Paul Fehér, who would later come to work for Rose and eventually design the magnificent screen that is a hallmark of their work and this exhibition. American artists, designers, and the fashionable elite were eager to travel to Paris after the war, especially to attend the 1925 International Exposition of Modern Decorative and Industrial Art ( Exposition internationale des Arts décoratifs et industriels modernes) where various countries-though not the United States-exhibited significant new designs. Next is a promenade of galleries exploring transatlantic connections that helped blend influences and cultures to create a seemingly smaller world. Photo: Erik Gould, Courtesy of the Museum of Art, Rhode Island School of Design, Providenceīrooch (Right) c. Museum of Art, Rhode Island School of Design, The Gorham Collection, Gift of Textron Inc., 1991.126.488. Silver with gilding, ivory 24.1 x 54.6 x 34 cm. Gorham Manufacturing Company (American, Providence, RI, 1865–1967). Erik Magnussen (Danish, 1884–1961), designer. Photo: © 2017 Museum of Fine Arts, BostonĬubic Coffee Service (Bottom Left) 1927. Museum of Fine Arts, Boston, Anonymous Gift, 1986.778–782. Silver, ebonized wood tea kettle on stand: 14.5 x 24.5 x 15.6 cm coffee pot: 25.2 x 25.2 cm covered sugar bowl: h. Gebelein Silversmiths (American, Boston, 1908–c. This trend influenced American manufacturers, especially in furniture, while silver and jewelry design forged an important connection between traditional techniques and new influences.įive-Piece Coffee and Tea Service (Top Left) 1929. Émile-Jacques Ruhlmann, Edgar Brandt, Armand-Albert Rateau, Jean Dunand, and Raoul Dufy were among those who produced extraordinary objects using lavish craftsmanship, exotic materials, and high technical skill, often invoking earlier French styles but with pared-down form. Fashionable consumers were eased into modernity through an admiration for sophisticated French elegance, itself infused with Austro-German sensibilities from before the First World War. The exhibition opens with works that feature new looks on familiar forms, providing updated, modern interpretations of older styles of decoration. Rather, this quest for change had been evolving steadily since the latter part of the 19th century when progressive efforts such as the Arts and Crafts, Art Nouveau, and Secessionist movements signaled a desire for a new vocabulary of design-one that responded to parallel efforts in social, political, and economic reform. New ideas began to challenge the supremacy of traditional revival styles, but dissatisfaction with the status quo did not occur overnight. Exploring the impact of European influences, American lifestyle, artistic movements, and the role of technology, Jazz Age reveals a decade marked by sharp contrasts. The Jazz Age: American Style in the 1920s is the first major museum exhibition to focus on American taste in design during the exhilarating years of the 1920s and early 1930s. Photo: Les Arts décoratifs, Paris / Jean Tholance, All Rights Reserved Musée des Arts décoratifs, Paris, 39952 A. Gilt and lacquered wood, patinated bronze 330 x 50 cm.
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