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Hardly any other movement has motivated the arts and crafts so much to cooperate with one another, and it has been so popular among contemporaries as Art Nouveau and Art Déco.
It is no coincidence that postmodernism at the end of the 20th century found a lot of bonds in these styles.
The fact that Art Déco, much more than other movements, was committed to luxury has long clouded the view of its creative achievements.
Representatives such as the still unknown Berlin architect Bruno Paul, an essential mentor and teacher of leading Bauhaus architects such as Mies van de Rohe, were involved.
Almost half a century had to pass before the antiquities and design trade honoured the top pieces, and his influence on American design in particular seems obvious to me. A love of fine materials and colours, high-quality craftsmanship and an exuberant optimism about being a designer in the best of times still resonate in the designs of the day. There, where he sees design as an individual artistic design, lies his quality for consideration today.
The fact that rare craft techniques were rediscovered or led to unknown qualities precisely because of this style epoch remains a historical peculiarity.
The situation in today's world is determined by such fundamentally different interests that a rediscovery of Art Deco would always mean a nostalgic transfiguration of the past.
Nevertheless, Formost also sees in the testimonies of this epoch important and still useful achievements of great designers.