Art Deco (from Fr. arts décoratifs, ‘decorative arts’) is an influential artistic style that dominated art, architecture and design in the 1920s and 1930s. Although the style existed for a longer period (approximately from 1919 to 1939), its peak popularity and most vivid manifestation were observed precisely in the interwar period, especially after the International Exhibition of Decorative Arts and Industrial Art in Paris in 1925. By the end of the 1930s, with the outbreak of World War II, the popularity of Art Deco declined, giving way to more functional and concise styles.

The Art Deco style became the material embodiment of the 'Roaring Twenties’, where the luxury of antiquity (ivory, ebony) met the futuristic glamour of industry (chrome, glass, lacquer).

Contrast became the key principle in combining materials – the basis of Art Deco aesthetics (matte surfaces were combined with glossy ones, the cold shine of chrome with warm wood, rough stingray leather with smooth silk). Materials were often used to create geometric patterns (inlays on furniture, combinations of different colour tiles on the floor, strips of different types of wood – marquetry).

An ancient Egyptian motif in ivory could coexist in the same interior with an ultra-modern chrome lamp (a synthesis of old and new).

One hundred years ago, from 28 April to 25 October 1925, Paris hosted the International Exhibition of Modern Decorative and Industrial Arts (French: Exposition internationale des arts décoratifs et industriels modernes), which showcased works in the sphere of modern decorative art, architecture and design. Twenty-one countries were represented in the national sections of the exhibition: Austria, Belgium, Great Britain, Greece, Denmark, Spain, Italy, China, Luxembourg, Monaco, the Netherlands, Poland, the USSR, Turkey, Finland, France, Switzerland, Sweden, Czechoslovakia, Yugoslavia, and Japan. Germany was not invited to the exhibition for political reasons, and the United States declined to participate.

The exhibition gave its name to the Art Deco movement (as a result of the abbreviation of the words Arts Décoratifs in the exhibition title) in decorative art in the first half of the 20^th century. It marked the beginning of the triumphant march of a new art style across the globe. It was the end of the First World War – long and bloody – that sharply heightened the desire to rebuild peaceful life, especially in the countries-winners.

The exhibition pavilions, including the Soviet one, built by Konstantin Melnikov, provided space for furniture, interior design, decorative and applied arts, and clothing. The display of the latest achievements convincingly demonstrated that a new style, different from the pre-war one, had emerged in Europe. The term Art Deco had not yet appeared, so the new direction had to expand worldwide under the name ‘modern style’ (art moderne or style moderne). The term ‘Art Deco’ did not really catch on until the late 1960s, when art historians began to describe the style.

The eclectic Art Deco style, which is a synthesis of neoclassical and modern art, manifested itself in various fields: architecture, furniture, decor, and fashion. It was influenced by such artistic movements as Neo-Gothic, Cubism, Constructivism and Futurism, intertwined with ancient Egyptian, Japanese, Mesoamerican (Mayan, Aztec, Inca civilisations) and other exotic motifs.

In terms of artistic features, in contrast to the floral scrolls of Art Nouveau, it is characterised by strict geometric shapes, deliberately sharp angles, and ethnic ornaments made from expensive and exclusive materials such as red and ebony wood, crocodile skin, ivory, enamel, crocodile skin and zebra skin.

The main principle of Art Deco is mixture and contrast. It combined functionality and decoration, simplicity of form and richness of materials. Art Deco quickly became a symbol of wealth and technological progress. Hotels, ocean liners, cinemas and casinos were decorated in this style. Furniture and decor were created as separate works of art – objects that combined comfort, glamour and innovation. Art Deco proclaimed monumental and refined aesthetic. It was an era of geometry, dynamics and overt luxury: from skyscraper facades to intimate interiors.

The optimism of the new era was emphasised by glitz and glamour. Metal was used extensively in interiors: golden door handles, silver handrails, chrome frames and embroidery with shiny thread. There were fewer items in the interior, but each one was significant – made on commission, with attention to detail and comfort. This led to new solutions for everyday life – armchairs with built-in ashtrays, floor lamps in furniture, integrated lighting elements. Art Deco sought to combine beauty, functionality and elegance, adding a bit of drama in everyday life.

The elegance of the forms was emphasised by colour. The most popular colour combination in Art Deco was deep black and gold.

Society sought festivity and brightness, so pastel shades and soft tones took a back seat. Designers used rich and contrasting colours: cobalt, ruby, yellow, emerald, turquoise and burgundy.

By the late 1930s and early 1940s, with the onset of World War II and the subsequent era of functionalism and asceticism, the popularity of Art Deco declined, and it came to be perceived as overly pompous and expensive.

Interest in Art Deco was revived in the 1960s and then again in the 1980s, and Art Deco remains in demand to this day, associated with the elegance, luxury and glamour of the ‘golden age’. Items created or decorated in the Art Deco style are represented in virtually all sections of the museum Сollection exposition: “Decorative Arts and Jewellery”, “Fine Arts”, “Clocks and Objects with Movement”, Mechanical musical Instruments and Objects. Some of these items can be examined in our new themed album, prepared for the 100^th anniversary of Art Deco.

The video guide ‘Sculpture of the Art Deco Era’ is posted in the section “Video excursions sequence” (video).

The audio story “European Bronze Sculpture of the Art Deco Era”’ is in the ‘Audio Stories’ section.

On the cover: Fruit bowl with the figures of vestal virgins. Ferdinand Preiss, Germany. Berlin. First half of the 20th century.