Art déco

Art deco (from around 1920 to 1940) encompassed the shaping of objects in all areas of life, such as architecture, furniture, fashion, jewellery and consumer goods. Instead of a uniform stylistic feature, Art Deco stands for a creative combination of elegance of form, preciousness of materials, strength of colour, and sensuality in the midst of the general awakening of classical modernism.
Some of this was already in the Art Nouveau style and the stylized and planar representation of floral and organic motifs remained typical for both epochs. The absence of shadows and naturalness conveys modern and often striking impressions of the art of that epoch. The industrial production as well as the light-hearted, eclectic mixture of stylistic elements of different origins are typical stylistic features, which made their starting point in the Wiener Werkstätten between Josef Hoffmann and Dagobert Peche. Paris remained the center of the movement, however. It was not until the Postmodernism of the 1980s that a new view of this modernist movement was presented, and since then it has enjoyed great esteem among collectors and supporters of design and the general public.

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.

Die Tecnolumen Leuchten im Art-Déco-Stil zeichnen sich
durch elegante Formen und hochwertige, klassische Materialien aus.

Die heute streng limitierte und fortlaufend nummerierte Schreibtischleuchte EB28 von Édouard Buquet ist ein Handwerksprodukt wie aus einer anderen Zeit. Die Form der EB 28 spricht Bände von seinem Sinn für Ästhetik und Funktion, die mit dem Esprit des Bauhauses eng verwandt war. Als wohl populärster Lampenentwurf des Art déco und der Zwanziger Jahre und wurde die Buquet-Lampe gerne in die Einrichtungsdesigns von Architekten wie Le Corbusier, Marcel Breuer, Joubert u.v.m. eingebunden.

1929 entwarf Josef Hoffmann, Gründer der legendären „Wiener Werkstätte“, dieses weltberühmte Moccaservice. Hoffmann war einer der größten Gestalter des 20. Jahrhunderts und mit Künstlern wie Gustav Klimt, Adolf Loos und Otto Wagner Mitglied der „Wiener Sezession“. Es stellt aufgrund seiner zahlreichen Rundungen auch heute noch höchste Anforderungen in der Handhabung des Luftpinsels an die Porzellanmaler von Augarten. Die Exotik der Fruchtformen mit dem kecken Stielknauf sowie die angenehm griffigen Henkel, deren leise Wellenform die weich gerippte Wandung der Gefäße elegant spiegeln, prägen die Ausstrahlung dieses Services.