Search results for ""Editions Norma""

Creator and architect of the emblematic Maison de verre in Paris, Pierre Chareau left behind a rich and coherent body of work, a "Chareau style" that places him as much in the modernist movement as in avant-garde thinking that embraces a world of new forms and materials. This first volume looks back at his biography, his decisive encounters with artistic movements such as cubism and primitive arts, and with leading figures such as Nicolas de Staël, Jeanne Bucher, Jacques Lipchitz, Pablo Picasso, Rose Adler, Max Jacob, Jean Lurçat and Rob Mallet-Stevens, who remained loyal to him throughout his short life. It traces his career, from his beginnings as a draughtsman at Waring & Gillow to his emergence as an independent designer; it details his participation in the Salons d'automne, the Salons des artistes décorateurs, the Groupe des 5 and the UAM, which set the tone for the modernity that thrilled the rest of the world; his work on Marcel L'Herbier's film sets; and his departure for the United States in 1940. It also introduces us to the collector and gallery owner, surrounded by artists such as Braque, Ernst, Gris, Léger, Lurçat, Masson, Modigliani, Motherwell and de Staël. The boutique he set up with his wife Dollie, on rue du Cherche-Midi, exhibits not only his own works but also the creations they produced: fabrics by Hélène Henry, rugs by Jean Burkhalter and Charchoune... Richly illustrated with almost 500 visuals, this first volume offers a complete overview of Dollie's furniture and lighting production, drawing on several iconographic collections (Musée des arts décoratifs, Paris, Moma, New York). Text in French.

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Trained at the École Nationale Supérieure des Beaux-arts de Paris in the atelier of Georges Jeanclos, Elsa Sahal quickly focused on working with ceramics for their sensuality and fragility. Former resident at the Archie Bray Foundation for the Ceramic Arts, in 2013 (Helena, MT), at Alfred University, New York State College of Ceramics, in 2009-2010 (Alfred, NY) and at the Manufacture Nationale de Sèvres (2007-2008), Elsa Sahal has also taught at the Haute École d'Art et de Design in Geneva and at the École Supérieure d'Arts Décoratifs in Strasbourg. She experiments in particular with the idea of volume and balance in sculpture, while returning to an exploration of the themes of the body and femininity. Ambiguous, dense, sensual and colourful, her works oscillate between anthropomorphic landscape and the landscaped body, taking up Cézanne's dream of uniting women's curves with the shoulders of hills. Elsa Sahal conceives, kneads and then produces complex and disturbing forms sustained by dense colours and sublimated through enamel. Winner of the MAIF prize for sculpture, in 2008, and the contemporary sculpture prize awarded by the Fondazione Francesco Messina, in 2007, Elsa Sahal has presented her work in one-woman shows and group exhibitions in numerous museums around the globe: at the Bonnefantenmuseum, 'Ceramix, Ceramic art from Gauguin to Schütte', in 2015 (Maastricht); at the MAD Museum, 'Body and Soul, New International Ceramics', in 2013 (New York); at the Fondation d'entreprise Ricard, 'Sculptures', in 2008 (Paris); and at the Incheon Women Artists Biennale, in 2008 (Korea). Text in English and French.

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Hubert Le Gall is an aesthete with eclectic and unclassifiable talent who refuses to be pigeonholed in a style or trapped by routine. Constantly coming up with new associations of quirky ideas, switching between set design, art, and decoration, Hubert Le Gall takes great delight in playing with traditions and derision, with forms, light and cast shadows, contents and containers, solids and things untied...Pic poissons Pedestal table, Taureau cabinet, Pot de fleurs armchair, Marguerites table, Spot Dog lamp, Dorian mirror, his playful and poetic pieces never fail to enchant or to surprise.

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This beautifully illustrated book of avant-garde art furniture design highlights a generation of creators whose energy and vision made a break with the past. Profiled here are Mark Brazier-Jones, Franck Evennou, Elizabeth Garouste, Marco de Gueltzl, Hubert Le Gall, Thierry Peltrault, Laurence Picot, Andrea Salvetti, and Claude de Wulf. All have been represented since the 1980s by Elisabeth Delacarte, whose Galerie Avant-Scène in Paris continues its mission of promoting these and other extraordinary furniture and jewellery designers to this day. Text in English and French.

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Nestor Perkal has been multiplying his activities as an artist since the 1970s. He is indeed simultaneously a designer of furniture, objects and lightings, an interior architect, a scenographer, a curator and an art director. This book is the first monograph made about his work and aims to chart the different steps of his extraordinary career. In 1978, Nestor Perkal left his native land, Argentina, to settle in France. He first thrived in Paris as an independent designer, creating original furniture. At the same time, he opened a gallery and was the first to represent Memphis. His creations were displayed at the exhibition Life with colours of the Cartier Foundation in 1985. Then, he moved to Limoges where he lead the Craft, a research centre about the art of ceramic making. An artistic community gathered around him. He worked with many creators, designers, artists, but also manufacturers, sponsors and collectors. Having grown as an artist through time, Nestor Perkal played and is still playing a crucial part in promoting and producing the work of contemporary designers, architects and artists. Text in French.

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The fisherman's hut and the arcachonnaises, magnificent residences of the Belle Époque, have shaped the coastline of the Arcachon basin, from the Ville d'Hiver d'Arcachon to the tip of Cap Ferret. Following in the footsteps of Art Deco architects such as Roger-Henri Expert and Le Corbusier, a new generation of designers from the early 1950s went on to leave their mark, sometimes modernist, sometimes brutalist, on the Basin's landscape, with a series of villas and houses that, alongside the rare collective dwellings, gave it its distinctive present-day appearance. Concerned to preserve the natural setting, the architects have competed in ingenuity to fit into this grandiose and fragile territory. Among them, the Salier-Courtois-Lajus-Sadirac team from Bordeaux, Raphaëlle and Jacques Hondelatte and Anne Lacaton and Jean-Philippe Vassal (Pritzker 2021), have invented an art of living here, with architecture that respects the environment, which has helped to make this unique natural site between the dunes, the pine forest and the ocean better known and loved. Text in French.

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With the International Exhibition of Modern Decorative and Industrial Arts in 1925, Art Deco seduced the world. From New York to Paris, the press celebrated this event which permanently imposes this universal style. Crossing the Atlantic aboard sumptuous liners such as Île-de-France and Normandy, main French decorators such as Jacques-Émile Ruhlmann, Jean Dunand and Pierre Chareau exhibited in department stores, from New York to Philadelphia. From Mexico to Canada, this enthusiasm is driven by North American architects trained at the School National Museum of Fine Arts in Paris from the beginning of the 20th century, then at the Art Training Center in Meudon and at the Fontainebleau School of Fine Arts, two art schools founded after the First World War world which strengthened the links between the two continents. This book reveals a reciprocal emulation which is illustrated in the architecture and ornamentation of skyscrapers as well as in cinema, fashion, press, sport... Thirty-seven texts and 350 illustrations make it possible to discover the unique links that unite France and America, from the Statue of Liberty by Bartholdi to the Streamline which succeeds Art Deco. Text in French.

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A major figure in decorative arts during the inter-war periods René Buthaud (1886–1986) developed an interest in ceramics upon finishing his studies at the École des beaux-arts de Paris and the École nationale supérieure des arts décoratifs, before being mobilised for the war. At times figurative and at other times geometrical or abstract, his vases met with great success at the Salon d’automne and the Salon des artistes décorateurs in 1920, where he exhibited works with his friends Jean Dunand and Alfred Janniot. From 1928 his works were distributed by the Rouard gallery, and he participated in most Salons as well as the major events of the time: the 1925 International Exhibition of Decorative Arts, the 1931 Colonial Exhibition, and the 1937 Exhibition of Art and Technology. Acting as technical director of the Sainte-Radegonde art pottery works for Primavera from 1923 to 1926, he was especially known and appreciated by the public for his great mastery of crackle enamel, a technique he reintroduced in France. Text in English and French.

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Renowned in Europe as an avant-garde architect in the 1970s, the Catalan architect Ricardo Bofill was called to the French stage following the destruction of Les Halles de Baltard in 1971. Called upon to compete in 1974, the architect attempted to revive the historic forms of Parisian architecture and urban planning. Rejected in April 1978 after more than 3 years of projects and models by Jacques Chirac, the first mayor of Paris, who preferred a neutral and less monumental architecture, Bofill nevertheless played a leading role in the development of new towns in France from 1972 to 1985, with projects that were as striking as they were controversial: These included Abraxas in Marne-la-Vallée, Le Lac in Saint-Quentin-en-Yvelines, Place Majeure in Cergy-le-Haut and the Antigone district of Montpellier.Designed as a fully illustrated diary describing the close relationship between architecture and politics under Valéry Giscard d''Estaing and François Mitterand, this book is the

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Marc Held entered history in 1965 with his famous Culbuto armchair, followed in 1966 by his furniture manufactured by Prisunic. Over a period of fifty years, he created some 150 furniture pieces, notably participating in 1983 in the interior design of the apartments in the Élysée Palace. Beginning in the 1970s, he also designed singular works of architecture, for individuals and for corporate clients such as IBM. At the end of the 1980s he chose to focus entirely on this passion of his when he settled on the Greek island of Skopelos. Interested in vernacular architecture, he dedicated a widely acknowledged book on Greece, Maisons de Skopelos, précis d'architecture vernaculaire published by Éditions Skopelos.net, in 1994, to it. It was also on Skopelos where over a period of thirty years he built eight exceptional villas: Lemonia, Maistros, Nina, Loukas, The Temple, Mourtia, Myrto and Kapsari. Each house is an architectural manifesto in its own right. These eight villas, in spectacular sites beside the sea, built with local materials and in accordance with the construction techniques of the island - all the artisans were from there - with the magical landscapes in which they are integrated, are eight lessons on the notion of genius loci, which so inspired Marc Held's architecture. Photographed by Deidi von Schaewen - with spectacular shots taken via drone-mounted cameras - his eight beautiful villas are also presented with his drawings and plans developed during their conception phases. Text in English and French.

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This book traces the history of an encounter between a remarkable invention, half-industrial half-design object, and one of the most famous architects of the 20th century. Created in 1921, the Gras lamp holds a unique place in the history of lighting. A revolutionary design of marvellous simplicity, its original purpose was to meet the needs of the booming manufacturing and retail sectors. The young Le Corbusier, passionate about the challenges of interior lighting, adopted it as his own from the early 1920s on. Thanks to its remarkable functionality, this lamp also perfectly corresponded to his desire to break with decoration and ornament, and the architect went on to utilise it in his studio in the rue de Sevres in Paris as well as his home. He also placed it in many of the interiors of the houses he designed: the Villa Le Lac (Switzerland), the Villa La Roche (Paris), the Guiette House (Antwerp), the Villa Savoye (Poissy), and the villa belonging to his friend Eileen Gray in Roquebrune-Cap-Martin. Relying on rich photographic documentation from the period, the book goes through the history of the Gras lamp, its patents and various models, but it also enables the reader to rediscover Le Corbusier's interior designs through the prism of this icon of design, as he was one of this lamp's main promoters in modern times. Text in English and French. AUTHOR: Didier Teissonniere opened Galerie Teisso in 1999 in the Marais district of Paris. There, he has been living his passion for the great icons of modernity, whether in the form of anonymous objects or those designed by Jean Prouve, Charlotte Perriand, Le Corbusier, and Charles and Ray Eames. Arthur Ruegg, a professor at the Swiss Federal Institute of Technology, Switzerland, is a specialist on Le Corbusier and the author of the Le Corbusier. Furniture and Interiors 1905-1965, Scheidegger & Spiess, 2012. Antoine Picon teaches the history of architecture at Harvard. Educated as an engineer, he is also the director of research at the Ecole nationale des ponts et chaussees and president of the Fondation Le Corbusier. 56 colour and 39 b/w illustrations

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This beautifully illustrated book, with over 300 colour reproductions, showcases many of the greatest masterpieces of 19th century Orientalist art. During this period, colonization, and a revolution in means of transportation allowed artists to visit countries from North Africa to the Middle East that had previously been relatively inaccessible. The patterns, colours, and light of this region influenced artists such as Delacroix, Decamps, Berchère, Bridgman, Ziem, Gérôme, Corrodi, Dinet, Matisse, Majorelle and many others. Upon returning to Europe, these artists captured the atmosphere of these distant and exotic lands in painted scenes of daily life and wrote memoirs of their travels. Some returned to settle there, including painters like Dinet, who spent a large part of his life in Algeria, and Majorelle, known as the “painter of Marrakech.” This book offers insight into the Orientalist aesthetic that inspired the movement, and lays the groundwork for a deeper understanding of these vibrant works of art. Text in English and French.

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Nudity, lasciviousness, sensuality, provocation, shamelessness, or obscenity. During the 19th century, eroticism takes on a new place in Western visual culture, in particular thanks to the development of reproduction such as photography, press or lithography. Result of long and meticulous research, this book reviews the major reflections carried out on the theme of nudity in the field of art history and the history of sensibilities. It studies the reception of nudity in France, based on documentary and iconographic sources renewed (little-known works, drawings and photographs, newspapers, archives, texts of laws) and allows us to better understand this history of erotic art of the nineteenth century, long perpetuated by the sole taste of description. By placing the works in their context, by comparing expressions and aesthetics, and studying visual culture of time, Claire Maingon opens up new fields of reflection, while allowing to discover unknown or forgotten artists such as Broc, Gavarni, Dubufe, Galimard, Ranft, Eakins, alongside the big names in the history of 19th century, David, Ingres, Delacroix, Courbet, Manet, Rodin. Text in French.

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Pierre Guariche (1926-1995) was a leading interior architect, furniture, and lighting designer in postwar France. He created a prolific body of work during what is known as the Thirty Glorious Years (1945-1975), a period of economic prosperity and high growth in France. He was an early adopter of industrial materials and production techniques that emerged during the 1950s, and is known for his remarkable lighting fixtures and simple, elegant furniture designs that could be manufactured on a large scale. He worked with innovative companies like Airborne, Steiner, and Pierre Disderot; he co-founded a design collective (Atelier de Recherche Plastique- ARP); and was the artistic director for the Meurop furniture company in Belgium. In advance of Charlotte Perriand in Les Arcs and Marcel Breuer in Flaine, he worked with the architect Michel Bezançon on the creation of La Plagne, the first comprehensive winter sports resort in France. Making use of unpublished archives, this book looks back on a rich itinerary of over 200 interior architecture and design projects, almost as many pieces of furniture, and a series of remarkable lighting fixtures (reissued today by Sammode) which shed light on the modernity and timeless elegance of this remarkable creator. Text in English and French.

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This exceptional anthology, which proposes a panorama of the evolution of crafts from 1945 to the present day, brings together a selection of over 70 texts from five continents. These texts are chosen and commented on by Chloe Braustein-Kriegel, a design specialist and critic, and Fabien Petiot, an art historian and designer. This new research is a genuine theoretical and practical tool for specialists and amateurs alike throughout the world. Calling on a huge network of experts, writers, critics, academics, journalists and artists, whose articles have been published in reviews such as Crafts Magazine, The Journal of Modern Art and The Journal of Design History, the authors present a diversity of viewpoints that permit the reader to go into depth on all the aspects of this multiform subject: the relationship between crafts and the many creation fields such as design and architecture, and the place of know-how in today's society. This anthology also makes it possible to place these contemporary questions in a historical perspective. A selection of authors: Charlotte Benton, Andrea Branzi, Alberto Cavalli, Garth Clark, Edmund Wim Delvoye, De Waal, Marie Douglas, Enzo Mari Stefano Micelli, Louise Schouwenberg, Patricia Woods.

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Pierre-Emile Legrain (1889-1929) was a French bookbinder, framer, landscape designer, furniture designer, and interior architect. This is the first full-length monograph about him, exploring his life and his creations in every genre, and highlighting the formal links between his work as an ensemblier, bookbinder, and draftsman. Pierre Legrain is credited with revolutionising bookbinding in the early 20th century. In 1916 he was commissioned by the French bibliophile, couturier, and collector Jacques Doucet to design bindings for his extensive library. He created nearly 400 unique bindings for him, and numerous frames for Doucet's exceptional modern art collection - including a steel frame for Les Demoiselles d'Avignon - as well as a series of African-inspired furniture. He was a member of the UAM, whose logo he designed, and he associated with Andre Breton, Paul Eluard, Jean Cocteau, the sculptors Gustave Miklos and Henri Laurens, the painter Francis Picabia, and the milliner Jeanne Tachard for whom he designed a garden. His rare body of work - a hundred or so pieces of furniture and a few interiors - is dispersed today in museums and private collections throughout the world. Text in French.

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An artist-designer who defies classification, Pucci de Rossi (1947-2013) was a pillar of the European art scene in the 1980s. Originally from Verona, and trained by the American sculptor H. B. Walker, Pucci de Rossi created his first pieces by assembling wooden furniture to make some rather odd-looking and unstable forms, somewhere between thrones and time machines. "My profession was a game to me," he once remarked. "I was cutting, I was making, I was inventing." His first designs, steeped in poetry and humour, recalled the minimalism of Arte Povera as much as Studio Memphis' neobaroque. Jewellery, furniture, sculpture, painting: Pucci's universe knew no limits except those of his own imagination. In his hands, even the most modest materials transcended themselves to become works of great visual and functional power. This was soon recognised; after 1985 he regularly exhibited in Paris, and in New York at the gallery Neotu, founded by Pierre Staudenmeyer. Some of his most notable accomplishments involve designing the layout for the Barbara Bui boutique in Paris, and the palace of the auctioneer Jean-Claude Binoche in Venice. In the 1990s his work was on display at the Downtown Gallery, and in 1994-1995 he collaborated with the CIRVA in Marseille. Shortly prior to his death, Jacques-Antoine Granjon, one of his most faithful collectors, commissioned a sketch for the frontage of the VentePrivee.com building in La Plaine-Saint-Denis. Baptized 'Verona', the metallic skin covering the facade, which was inspired by that drawing, pays tribute to him today. Pucci de Rossi created more than 900 pieces during his lifetime; this book gives him the commemoration he deserves.

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From the 1950s, Beirut and Lebanon have been a veritable laboratory of architectural modernity in the Middle East, calling on the greatest national and international architects. Institutions and large Lebanese companies have turned to concrete and so-called brutalist forms, participating fully to the renewal of world architecture. If Lebanon gave birth to a flowering of exemplary buildings of this period, this work is an invitation to discover more than thirty, often unknown and admirably captured by the gaze by Matthieu Salvaing. By their selection, the authors invite the reader to follow in their footsteps at the heart of the various modernist experiences who crossed Lebanon as so many testimonies of an international and generous vision. Public commissions, such as the emblematic Tripoli International Fair built by Oscar Niemeyer or the Ministry of Defense of André Wogenscky, with private villas such as those created by Henri Edde, passing by the Interdesign building of Khalil Khoury, this work is the celebration of a history happy with Lebanon, rooted in modernity and open to the world. Text in English and French.

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A real mirror of 20th century creation, Chess Design presents an exceptional documentation on chess games made by artists, designers, architects, and craftsmen: chessboards themselves, but also artist's drawings, execution plans and photographs of archives. By presenting nearly 300 of these chessboards chronologically, the author offers a new perspective on the history of art and its evolution. Art Nouveau, Secession, Surrealism, Fluxus, Pop Art, most of the great movements that are born and follow one another in the Fine Arts find an echo with these chessboards and the 16 pieces that animate them. These chess games also reflect the evolution of techniques and materials used during this period: wood, glass, ceramics will give way, from the 1950s, to steel, plastic and composite materials. At the border between the plastic arts and the decorative arts, these chessboards are made by big names in the art scene, design or architecture – Alexandre Rodchenko, Jean-Michel Frank, Man Ray, Marcel Duchamp, Alexander Calder, or, more recently, Yoko Ono, Robert Filliou, Yayo Kusama, Victor Vasarely, Zaha Hadid, Frank Gehry or Damien Hirst – as by anonymous people. The synthesis offered by the author constitutes a valuable and innovative historian's work, supported by iconography that is both rich and mostly unpublished. Text in English and French.

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In line with the works on decorators of the 1940s, '50s, '60s, and '70s, this book plunges us into the world of '80s and '90s. These have witnessed unprecedented experiments in the world of design and architecture. Composed of a rich introduction which gives a synoptic vision and 38 monographs that describe its many faces, this book makes and exceptionally creative period intelligible, and reveals through an abundant iconography, often unpublished, its formidable aesthetic richness. A new generation of designers stands out; among them Shiro Kuramata, Philippe Starck, Ron Arad, Bob Wilson, Elizabeth Garouste and Mattia Bonetti. All regenerate creation by refusing the elitism of their predecessors and by favouring the use of new materials. Some turn to recovery, such as the Creative Salvage group, and offer inventive and provocative furniture thanks to welding and assembly. Others, gathered in Italy around Ettore Sottsass and Memphis, combine unexpected colours and patterns to the playful use of plastic laminate. Sliding until the end of the '90s, the achievements presented in this book mark the desire for a dialogue between artistic references with a new relationship to the industrial aspect, at the dawn of the 21st century and its technological innovations. Text in English and French.

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Nicolas Eekman (1889-1973) is the heir of the great creators of his native Flanders, from Jérôme Bosh to James Ensor, as well as one of the representatives of the School of Paris. Born in Brussels where he studied architecture, he turned to painting and exhibited for a few years in Holland before settling in Paris in 1921. Close to his compatriot Mondrian with whom he exhibited at the Jeanne Bucher gallery (1928), he is also closely linked to the artists Jean Lurçat, Marcoussis, Max Jacob, Lipchitz, and later with Moïse Kisling and Frans Masereel. Influenced by Cubism to which he devoted a few outstanding years, he gradually returned, in the 1930s, to realism and then from the 1950s turned to the fantastic, reviving the Flemish painting of the fifteenth and sixteenth century. Author of an abundant painted work, he is also a renowned draftsman, illustrator and engraver whose works have been collected by numerous print studios (Brussels, Hanover, Berlin, Hamburg, Basel, Budapest). Text in English and French.

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In 1933, Virginia Woolf wrote a biography of the poet Elisabeth Barret Browning, told in the first person by her cocker spaniel, Flush. In 1936, to write her memoirs, All the dogs of my life, Elisabeth von Arnim chose to tell the story of the 14 dogs that had accompanied her throughout her life. In 1957, the dachshund Lump arrived at the home of Pablo Picasso, whose life he shared until 1973. This book charts Picasso''s intimate family life, with Jacqueline, Claude and Paloma, and with the animals that populate the villa La Californie, as well as his artistic life. Inspired by these references, this collection (whose title is a nod to Picasso and Lump) takes a look at the lives and works of the great artists and art lovers of the 20th and 21st centuries from the perspective of their relationship with the dogs of their lives. These lighthearted, erudite books offer a unique approach to the life and work of Pablo Picasso, Andy Warhol, Peggy Guggenheim and Yves Saint Laurent..

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Paul Andreu (1938-2018) is a major figure on the international architectural scene in the second half of the 20th century. He left his mark on airport architecture not only during his long career with Aéroports de Paris, but also with his work in Asia, in Japan and China, where he was one of the first French architects to make his mark, with the Kansai airport in 1988 and the Beijing opera house, inaugurated in 2007. Founded on a constant demand for functionality and technical rationality, the work of this architect and engineer is rooted in the notion of threshold, passage and transformation, bringing into play fundamental principles: earth and sky, East and West, thought and matter. This monograph is amply illustrated with sumptuous archive photographs and contemporary views, as well as drawings from 69 sketchbooks recently donated to the Cité de l''architecture et du patrimoine.Text in French.

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Svelte and seductive, the Spine chair, shown on the cover of this book, is one of the most renowned objects in contemporary design. Its creator, Andre Dubreuil, after initially pursuing a career of antique dealer and a painter-decorator, became one of the leading figures of new English design in the mid-1980s, with Mark Brazier-Jones and Tom Dixon. After first working his magic on the rebar, Dubreuil tackled traditional forms, breathing new life into them. This return to citation, ornament, and to "craftsmanship" was carried out without qualms. For him, invention is what counts above all. The history of styles has never caught hold of him because he does not know where his craft will lead tomorrow. It is a craft which, through random experimentation, has been the catalyst for 400 enigmatic furniture objects from 1985 to today: chairs, chests of drawers, mirrors, cabinets, clocks, lanterns, etc. in which dreams, invention and mystery prevail over function.

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Born in Milan and trained at the Ecole Polytechnique in Lausanne, Nanda Vigo (1936-2020) made a name for herself in the 1960s with her cross-disciplinary approach to art, architecture and design. An important figure in the Italian avant-garde art scene, she has always favoured experimentation and exploration. From 1959, she frequented Lucio Fontana's studio, before becoming close to the artists Piero Manzoni and Enrico Castellani, who founded the Azimuth gallery in Milan. It was during this period that she discovered the artists and venues of the ZERO movement in Germany, the Netherlands and France. Between 1964 and 1966, she took part in numerous ZERO exhibitions in Europe; in 1965, she organised the legendary Zero Avantgarde exhibition in Lucio Fontana's studio in Milan. In 1971, she received the New York Award for Industrial Design for the Golden Gate lamp produced by Arredoluce, and completed one of her most emblematic projects for the Casa Museo Remo Brindisi in Lido di Spina. In 1976 she won the first Saint-Gobain prize for glass design, and in 1982 she took part in the 40th Venice Biennale. This book accompanies the exhibition Nanda Vigo, l'espace intérieur at Madd Bordeaux, which presents the artist's work through immersive installations. It looks at architecture, art and design as fields of total creation, to give us the opportunity to see, perceive and feel all the dimensions of space. Text in English and French.

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Alfred Auguste Janniot (1889-1969), a renowned French sculptor of the inter-war period, left his mark on his contemporaries through his monumental work, which embraced and magnified architecture, both in France and other countries. His two main works, the spectacular bas-reliefs for the Musée permanent des colonies (1931) and the Palais de Tokyo (1937), still resonate in people's minds today. He also took part in the great adventure of the transatlantic liners, working on Île-de-France (1926) and Normandie (1935). Winner of the Grand Prix de Rome in 1919, Janniot worked alongside some of the greatest architects, collaborating with Roger Séassal, Michel Roux-Spitz, Albert Laprade, Jacques d'Welles, Wallace Harrison, Jean Niermans and Pierre Patout. Whether round-bosses or monumental "stone tapestries", his many works reveal the artist's classical training acquired at the École des Beaux-Arts in Paris, as well as an abundant creativity that can be seen at the town hall in Puteaux (1932-1934), the Chamber of Commerce in Châteauroux (1934), the Maison Française at Rockefeller Center in New York (1934), the Bourse du Travail in Bordeaux (1935-1938) and the Villa Greystones in Dinard (1938-1950). Text in French.

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In 2015, the Vendôme column regained its initial splendour thanks to a long restoration campaign supported by the Vendôme committee and particularly the Ritz. During the dismantling of the scaffolding, David Bordes took exceptional shots of all the column plates. Published here for the first time, these 450 photographs form a fascinating and totally new corpus: the details of the battle scenes, the military costumes, the landscapes which constitute the setting of the battle of Austerlitz allow one to discover the column as it had never been revealed. Based on the shots of David Bordes, but also on paintings, old photographs, period documents, this widely illustrated art book in exceptional format and workmanship brings the history of the column to life, its sources, its destruction, its restoration, and also describes the moving history of the daily life of the Grande Armée during the Austerlitz campaign.

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Basketball shoe, tennis shoe, trainer or sneaker, regardless of the name, they have influenced the way we live, and the way we dress, since the early 20th century. Worn by millions of people the world over, sneakers have, in just a few decades, become a mass-market product that transcends gender, age, and social and cultural background. But how did a simple sports shoe make the leap from the pitch to become a genuine fashion accessory or even a piece of art? With over 600 pairs, films, archive documents, photos and personal accounts, this book presents all the facets of this iconic object, from its success with New York breakdancers to the cutting-edge technological research that goes on with that. Text in English and French.

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Michel Buffet is known as a pioneer in the mid-century industrial design movement in France. His work embodies the aesthetics of the 'Thirty Glorious Years' of French design from 1945 to 1975, which he expressed elegantly in his signature shapes and colours. His career includes a 30-year association with Raymond Loewy at CEI (Compagnie d'Esthetique Industrelle), the founding of his own company (Vector Industrial Design), a range of elaborate public works and transportation projects, and his signature interior and lighting designs. His transportation projects include design work for planes (the Dessault Group Falcon and the Concorde) and trains, for the Caracas metro, the Hong Kong subway, the Channel Tunnel, Shell International service stations, and the French Navy. In the realm of furniture, he notably designed a modular kitchen, DF 2000, hailed by the Italian review Domus. His lighting fixtures from the 1950s - including the floor lamp B211 and wall sconce B206 - were initially issued by Luminalite, and have become popular classics which have been reissued by the company Lignes de démarcation. Text in English and French.

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Spanish-born photographer Fadia Ahma (b.1975) lives and works in Lebanon. Her poetic series of photographs of Beirut eloquently captures the street life of that resilient city; merchants on street corners, grocers, fishermen, bathers, street artists, collapsed buildings, new construction. She presents fragments of life through fragments of the city itself. This is the first monograph of her vibrant and intuitive work on the people and places of Beirut. She has been crisscrossing her city with a camera since 2003. District after district, house after house, she explores the complexity and humanity of Beirut and the Lebanese people. "I decided," she explains, "to follow an itinerary, which is always the same, so that I wouldn't disperse myself. It is my constancy that allows me to discover, to meld with this city." Fadia Ahmad's imagines her photographs as paintings, which mirror Beirut and capture the poetry of place and people which are nestled in the slightest details. Text in English and French.

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Published on the 100th anniversary of the discovery of Tutankhamun’s tomb and the 200th anniversary of the deciphering of the Rosetta stone, this book responds to the ever-growing enthusiasm and curiosity for Egyptomania. This concept refers to a collective imagination which was nurtured throughout the 19th and 20th centuries by archaeological digs and exploratory trips. These key discoveries were crucial for creation and particularly for the Art Deco artists who found their inspiration in Egyptian lines and patterns. Art Déco & Egyptomanie explores the origins and functioning of this cultural and artistic movement shaped by many fields: architecture, cinema, sculpture, popular art, theatre and fashion. Art Déco & Egyptomanie comes with an explicit and previously unseen iconography. Text in French.

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It is a rare species, but it exists, as ''60s art critic Pascal Renous pointed out on the subject of artistic couples. This designer-decorator duo of Janine Abraham and Dirk-Jan Rol met at Jacques Dumond''s studio in 1955. The couple shares the same love of precision, line and plain colours. Their earliest joint creations were first exhibited at the Salon des artistes décorateurs, in Paris. Their furniture, made of wicker, wood and aluminium, twice won prizes at the Salon des artistes décorateurs (a sideboard in 1956 and an armchair in 1958), garnering notice from the public and professionals alike. Jean Royère did not hesitate to use their emblematic Soleil armchair (gold medal at the 1958 Brussels World''s Fair) in the decoration of the palace of the Shah of Iran, in Teheran. Their light and functional designs are available today, re-edited by Yota Design.Abraham & Rol were also interior designers and intervened in this capacity for both individual clients and large corporate

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The 1960s and 1970s marked a sharp turning point in the history of decoration and furniture. Until that point, the world was confined to national and elitist forms of expression. At the beginning of the 1960s, the sector took its inspiration from Anglo-Saxon, Scandinavian, Italian and French decoration. Genres were combined in a frenzied desire to live in symbiosis with one's time. The progress of technology strengthened the conviction that the individual had unlimited freedom and aroused the desire to inhabit in a new manner. Forms became rounder, furniture was in sync with a warm, playful, and anticonformist universe. Colours and decorative motifs took on the brilliance and fantasies of Pop Art and psychedelia. The living environment was transformed into a waking dream in which luxurious furniture in original materials and surprising objects were mixed, associated, for the first time, with early furniture. The end of the 1970s marked the advent of a period in which beauty and classic elegance gave way to a host of expressions that were unclassifiable and rejected any hierarchy. The postmodern period had arrived. Composed of a long introduction that provides a synoptic view and 32 monographs that describe its many faces, this book invites the reader to discover an exceptionally creative period and revels in an abundant iconography. Holding a doctorate in art history, Patrick Favardin has organised exhibitions for the city of Paris on varied artistic, historical and literary subjects for many years. Guy Bloch-Champfort has always taken an interest in the decorative arts and contemporary creation. In 2002, he published Raphael, dercorateur at Editions de l'Amateur, a very successful monograph that brought this important creator to the public's attention. Working with many French and international magazines - Connaissance des arts, Maison française, AD, Casa Vogue - for the plastic arts, decorative art, architecture, and design, from the start of the 20th century to the present day, he is naturally interested in decoration in the 1960s and 1970s, which, as in no other period, made contemporary creations and pieces from past centuries coexist. . A panorama of the most innovative decorators of the 1960s and 1970s . A mix of decors and of design pieces that will interest collectors as well as architects and decorators - a brilliant perspective on the 1960s and '70s 300 colour, 150 b/w

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Olivier Gagnère appeared on the French design scene in the 1980s. Through his contact with the Memphis group of Ettore Sottsass in Milan, he developed his spirit of fantasy, great formal liberty, all with a touch of humour. In Japan, on the island of Kyushu, he immersed himself in the ancestral craftsmanship of the porcelain makers in the studios of Arita. He designed his earliest pieces of furniture for Artelano and Pierre Staudenmeyer's Galerie Néotù. He went on to collaborate with the Galerie Maeght to create works in Murano glass and with the Galerie Edition Limitée for works in earthenware. In 1994, his designs for the interior of the café Marly, in the Louvre, brought him great renown and have led to many collaborations with crystal works Saint-Louis, porcelain manufacturer Bernardaud, En attendant les Barbares... With Olivier Gagnère's artful mastery of every material, he is just as at ease working with porcelain as with iron, crystal, wood, leather or bronze. He blends simple and timeless forms with carefully sized volumes, in a range of bright contrasting colours. Steeped in the most classical traditions, he marks every one of his creations with a gesture, a demeanor that is a signature of his times. Text in English and French.

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From the white plastic bed for the Prisunic catalogue (1966) to the Culbuto armchair issued by Knoll, and from the Lip watch to the private apartments of the Elysee Palace, Paris, (1983), the furniture and objects conceived by Marc Held have been emblematic of the renewal of French design, following the line of Scandinavians such as Alvar Aalto and Arne Jacobsen...With his gallery L'Echoppe on the rue de Seine, Paris, and then with his agency, the designer and architect Marc Held also took part in major projects for IBM and Renault. This book traces fifty years of design, whose success with the public at large has contributed to a great liberation in our style of life. The generosity of his vision has remained faithful to the humanist values that guided his childhood in Bagnolet, where he was born in 1932. Having settled in Greece, on the island of Skopelos, over twenty years ago, Marc Held still continues to build houses and furnish them with his creations, working closely with Greek craftsmen.

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As one of the key players of modern jewellery in the '20s, Paul Brandt worked with the most famous jewellers of his time, like Fouquet or Sandoz. He followed eclectic studies in Paris (jewellery, painting, sculpture, medals and stones engraving, chiselling, etc) and finally decided to specialise in jewellery design. With his first creations he joined the art nouveau movement before focusing on an art deco style. He took part in the International Exhibition of Decorative Art of 1925 both as an artist and a jury member. Paul Brandt considered his jewellery as works of art in their own right and displayed them during exhibitions where the scenography kept getting more innovative. From the '30s, he extended his activity to interior design. This monograph displays the talent of this major artist who left his mark in France and abroad. Recounting his whole career, it highlights the extent of Paul Brandt’s skills, not only in jewellery but also in medal making, decoration and interior design. Text in French.

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Oriental Lifestyle will take you on a journey that explores astonishing artistic and architectural worlds, captured by a poetic eye. Like an enchanter, Guillaume de Laubier brings the ochre of the desert alive and highlights the splendour and wonders of palaces and residences rich in ancestral knowledge and history. We discover the beautiful diversity of the Orient-Occident alliance, which has given birth to an innovative and colourful style of decoration. We stop in front of the skyscrapers, museums, and modern villas that are revolutionising architecture and design in the Arab world. This is a book that celebrates the diversity of the art of living, architecture and design in the East today, from Egypt to Tunisia, Lebanon, Syria, Jordan, Turkey, Saudi Arabia, Bahrain, the United Arab Emirates, Qatar, and also Mauritania and Morocco. Text in English and French.

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In the 1970s, in the region of the Landes, between Bayonne and Peyrehorade, on the banks of the Adour River, the photographer Jeannette Leroy and the art dealer Paul Haim created a sculpture garden around a modest farm, La Petite Escalère. With the help of the faithful gardener Gilbert Carty, amidst canals, bridges, paths made of railway ties, and many trees and flowers, they installed about 50 works, some of them monumental, by artists such as Rodin, Maillol, Niki de Saint Phalle, Zao Wou-Ki, Françoise Lacampagne, Cárdenas, Mark Di Suvero, Léger, Matta, Zigor… Paul positioned the sculptures, and to help them vanish into the natural environment Jeannette would plant a shrub, a rosebush, dahlias, an oak, a maple, a gingko, a Caucasian walnut… “I don’t want this garden to become ridiculous!” she said. Paul Haim has evoked the bewitching beauty of La Petite Escalère better than anyone else: “The nonchalant visitor will pass from the shade of Les Barthes to the brightness of the Moura, from the freshness of the fountains to the suffocating heat of the forest. Coming around a bush, he allows himselfto be surprised by an unusual presence. Immutable. … Far from the agitations of the world, sinking into nothing-ness, watching the clouds go by, contemplating the places of joy.” Text in English and French.

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A census conducted in 1901 indicated the existence of some 209 producers of pottery in France, employing a total of around 5,800 full-time labourers. This great activity stimulated a parallel development in the arts, including the search for new expressions in art pottery, giving birth to l'art nouveau, a great and eclectic synthesis of a number of other art styles. Largely through British arts and crafts, and the work of artists like the Manxman Archibald Knox, it reached far back into the prehistory of Celtic art. To this were added later medieval elements, through the gothic revival championed by William Morris. The need for renewal, breaking away from the neo-Classical and academia, which was the realm of the upper-class culture, was largely theorised by John Ruskin, who searched elsewhere for inspiration. Thus did British art nouveau also partake of Chinese and Japanese styles, though never in so forceful a manner as did the French aesthetic. France, on the one side, looked back to the swirling and frivolous eighteenth century Rococo, primarily through the influence of the Goncourt brothers, Edmond and Jules, influential aesthetes of the mid-nineteenth century. The book focuses especially on artists working stoneware or gres, faience, and terracotta. It aims to provide a general survey of the many artists working in these areas, and includes brief accounts of the ceramics work of sculptors and painters whose wider output is already well known.

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From imperial Russia to the Rome of the 1960s, the work of architect, painter and scenographer André Beloborodoff (1886-1965) expresses his unique vision of the history of modernity. An enlightened Palladian, Beloborodoff designed palaces, châteaux and villas for Café Society patrons using modern construction techniques, such as reinforced concrete. The interior design of the Yusupov palace in Saint Petersburg, the Caulaincourt château in Picardy, and the Villa Pepoli for Maurice Sandoz in Rome - built at the same time as Le Corbusier's Cité radieuse - are witnesses to his timeless, stripped-down and refined classicism. He won the Prix de Rome in 1934, and subsequently spent many years living and working in Italy. Many of his architectural ideals are found in his metaphysical and surrealist paintings and watercolors, highly praised by Paul Valéry, Mario Praz, Henri de Régnier, and Jean-Louis Vaudoyer. His atmospheric vistas of sunken or vanished worlds recall the edifices that Beloborodoff, eternally rootless, was never able to build. Text in French.

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A key figure in the Art Deco movement, artist Jean Dunand (1877-1942) stands out for his multiple talents as a sculptor, goldsmith, copper maker, but also lacquerer, bookbinder and decorator. After having excelled in finishing hammer-mounted vases and brassware, he met Seizo Sugawara in 1912 who led him to become passionate about lacquer, which he made his signature on both his vases and his panels, furniture and bindings. At the head of an important workshop, he participated in the major international exhibitions of his time, in Paris in 1925, 1931 and 1937, in New York in 1939, and was regularly exhibited at the Georges Petit gallery and at the Salon des Artistes Décorateurs. His singularity and the quality of his creations lead him to become one of the most sought-after portrait painters, immortalising personalities in fashion and the arts such as Jeanne Lanvin, Louise Boulanger, Joséphine Baker as well as from the world of finance such as the Lazards, Carnegie or Louis-Dreyfus. Jean Dunand also worked on remarkable sets in France and the United States such as the music salons of Solomon R. Guggenheim, the apartments of Madame Agnès or Templeton Croker, as well as on the shipyards of the Atlantic and Normandy liners which will crown a rich career of more than two thousand works, presented in a repertoire at the end of the book. Text in French.

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Dominique Perrault is recognised as one of the outstanding architects of the 21st century. In 2015 he was awarded the prestigious Praemium Imperiale prize. The general public knows him as the architect of the BnF François Mitterrand. He has authored major projects around the world, such as the Ewha Womans University in Seoul, Velodrome in Berlin, the Court of Justice of the European Union in Luxembourg (2008), and the Albi Grand Theater. Recently, the DPA office was selected to create a new hippodrome for Longchamp and to transform the former central office of La Poste rue du Louvre, in Paris. In 2016, the public will discover his transformation of the Dufour Pavilion in the Château of Versailles where the new ticket office, restaurant, conference rooms and bookstore will be located. Metal mesh tapestries and light fixtures here will evoke the majesty of the "Grand Siècle" in a modern language of design. For over twenty years now, Gaëlle Lauriot-Prévost, in her role as architect-designer associate of Dominique Perrault's, has been designing the interiors for his architectural projects: seating, light fixtures, partitions composed of metal mesh, etc. The work of these two designers creates environments in which architecture and furniture blend together. The objects designed by Gaëlle Lauriot-Prévost are edited by manufacturers around the globe: Fontana Arte, DCW, Silvera, Poltrona Frau, Alessi, Baccarrat, Chevalier, Sawaya & Moroni, Galerie Kréo, FSB, etc. The book offers an analysis of the influences underpinning the design of these furniture pieces and light fixtures, enabling the reader to understand the reflection preceding behind conception. It also presents possible variations in the paths they are likely to take from one project to the next. For the first time, this work presents, thanks to over 600 illustrations - plans, models and photographs - the complete range of objects Gaëlle Lauriot-Prévost has created, some of which, such as the seats for the BnF, have already become emblematic. Text in English and French.

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"Building in Lebanon is my way of taking a position with regard to the war." This statement by the French-Lebanese architect Youssef Tohme is key to getting into and grasping Intensive Beirut. This illustrated essay blends reflections on the urban development of the Lebanese capital with the experience gained on the projects of this architect-contractor, engaged in the effort to reopen the debate on architecture in his country. In a place where every situation is never more than a temporary state, the analysis of space is fundamental. The first part of the book examines Youssef Tohme's ideas, illustrated with 25 photos by Ziad Antar, a Lebanese visual artist-photographer. Equipped with a Holga and a Rollefleix, Antar has captured the architect's key projects - St. Joseph University in Beirut (designed with the office of 109 architects), the Villa T and the Villa M in Kornet Chehouane, and the Villa SC in Akoura. The second part, authored by Karine Dana, facilitated exchanges of ideas between Youssef Tohme and important figures of the Lebanese cultural scene such as the architect Tony Chakar, the artist Ziad Abilama and the singer Ahmed de Maschrou. Text in English and French.

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Jean Fautrier (1989-1964) was a major 20th century artist. Trained at the Royal Academy of Arts and influenced by J.M.W. Turner, he was quickly noticed by the collector Jeanne Castel in 1923. At first, his style was figurative and played on contrasts of light. He expertly harnessed the essence of reality in order to transfigure it, redefining the genres of landscape painting, still lifes and nudes (especially in his series of dark works) during the inter-war period. A few years later, his approach underwent a radical shift and became much more abstract. He launched the “Informalist” art movement, playing with pictorial materials and combining different substances to create visions of an extraordinary material quality. Close to the great intellectual figures of his time, including Jean Paulhan, Paul Éluard, Francis Ponge, René Char and André Malraux, Fautrier never ceased producing remarkably powerful and politically resonant works, as is attested by his major series Otages (1943-1945), Objets (1947-1948) and Partisans (1956). In 1960, he was awarded the first prize for painting at the Venice Biennale. Boasting an exceptionally exhaustive iconography, this first ever comprehensive annotated catalogue of Jean Fautrier’s paintings includes the technique, origin, exhibitions and bibliography for each work. It is supplemented with a detailed biography, technical analyses and authoritative scientific texts, as well as transcriptions of interviews and radio broadcasts from Fautrier’s time. Text in English and French.

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El-Gazzar, born in 1925 in Alexandria, is a leading figure in modern Egyptian art of the 20th century. He enrolled in the Faculty of Fine Arts in Cairo in 1944 and then joined the Contemporary Art Group founded by Hussein Youssef Amin, his master. With an innovative and unique expressionist style, it portrays the people of Cairo in a folkloric way. Later, he tried his hand at abstraction by representing industrial machines and their effects on humans.Recognised during his lifetime, the production of El-Gazzar was exhibited in France from 1949, at the Venice Biennale in 1952 and at the São Paulo Museum in 1953. Today, his works are in private collections in Cairo, Alexandria, Rome, Paris and Brussels, but also in major institutions around the world, such as the Metropolitan Museum of Art in New York or the Mathaf: Arab Museum of Modern Art.This catalogue raisonné, published in English, comprises two volumes. The first is dedicated to the artist''s paintings and the seco

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Chosen for the 59th Venice Biennale, to represent contemporary creation at the Lebanese pavilion Ayman Baalbaki is a Lebanese artist born in Beirut in 1975. He first trained at the Institute of Fine Arts of the university Lebanese school in Beirut, then at the National School of Decorative Arts in Paris. Five years after his arrival in France, he received the silver medal in painting at the Francophone Games and then participated in several exhibitions worldwide. Lebanon, France, Great Britain, Argentina, Egypt and Niger are all countries that welcome the works of the artist. His productions of the last 10 years have been compiled through this unpublished work, published in French, English and Arabic. The authors endeavour to decipher his paintings and installations, crossed by societal issues specific to Lebanon: war, abortive revolt, political and financial bankruptcy, the tragedy of the port of Beirut or even pandemic. The artist paints anonymous portraits of his contemporaries, which have today become symbols of the Middle East. It represents the city, its buildings, erected, but also in ruins. His art is vibrant, dynamic and textured. Text in English, French and Arabic.

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The architect Paul Tissier (1886-1926) turned his short life into a multi-faceted artistic adventure. A student at the Beaux-Arts de Paris, where he founded the Association symphonique, he became president of the famous Quat'z'Arts ball. His talent as a watercolourist and draughtsman made him a witness to the ruins of the 1914-1918 war. Whether in the devastated regions or on the Côte d'Azur, he developed a unique catalogue of modular houses inspired by the region, combining traditional architecture with modern design. In 1923, Tissier was entrusted by the Société des grands hôtels de Nice with the organisation of exceptional festivities based on themes such as Russia, the Far East, Ancient Rome and Latin America, as well as underwater kingdoms and many other fantasies revolving around childhood, fashion and cubism. With his wife Gisèle, he was responsible for both the scenography and the staging: splendidly coloured painted canvases, extravagant costumes, spectacular dances, processions, naval jousts, fireworks and illuminations... A shooting star, Paul Tissier created almost 100 festivities across Europe in three years, before suddenly passing away. This first monograph draws on the 400 set elements and 2,000 graphic documents that survive in his archive, taking us to the heart of the excesses of the Roaring Twenties. Text in French.

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Award-winning chocolate artist Patrick Roger (Meilleur Ouvrier de France chocolatier 2000) has pursued a parallel body of longer-lasting work, creating sculptures in a variety of materials, including bronze, aluminium, silicone, marble, and concrete. He begins with chocolate as a base, working this malleable material quickly with techniques he has perfected over many years, before casting it. This book, the second volume of his sculpted works (Volume 1 was published in 2018), features 177 new creations that are described in detail and beautifully photographed. Further insight into Roger’s work is found in a notebook of contemporary inspirations and a reproduction of his personal sketchbook. Text in French.

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