[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-152363-en":3,"doc-seo-152363-105":30,"detail-sidebar-cat-0-en-105":91},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":20,"is_deleted":4,"is_public":20,"is_downloadable":20,"audit_status":20,"page_count":21,"language":22,"language_code":23,"site_id":24,"html_lang":23,"table_of_contents":25,"faqs":26,"seo_title":27,"seo_description":14,"update_tm":28,"read_time":29},152363,687197100911,"Himbo","https://ap-avatar.wpscdn.com/avatar/a000239b6f1da00475?x-image-process=image/resize,m_fixed,w_180,h_180&k=1785132997149421697",2,"Literature","Room 16 - Guest Bedchamber - Introductory wall text","Art Deco (1920–1935) is presented through a focused room installation set in Marseille, Château Borély—Museum of Decorative Arts. The introductory text explains how Art Deco formed during the interwar period, building on Art Nouveau while shifting toward clarity of line, geometric stylisation, and refined materials. Three themes structure the room: the evolution of decorative vocabulary from the 1910s, the École de Nancy’s transition role, and a new generation of French decorative artists. Key turning points include the 1925 International Exposition and renewed production policies at Sèvres between 1920 and 1938.","Exhibition Art nouveau-Art déco. Marseille au cœur des styles  \nMarseille, Château Borély – Musée des Arts décoratifs, de la Faïence et de la Mode 8th MAY 2026 – 25th APRIL 2027  \nRoom 16 – GUEST BEDCHAMBER  \nIntroductory wall text  \nArt Deco (1920–1935)  \nDuring the interwar period, Art Deco established itself as an aesthetic of modernity, founded upon clarity of line, the stylisation of motifs and the refinement of materials. As the heir to Art Nouveau, this style gradually asserted itself within a context marked by reconstruction, industrial innovation and a redefinition of taste.  \nThree principal themes structure this room.  \n-The first illustrates the evolution of the decorative vocabulary from the 1910s onwards, characterised by the simplification of forms, the gradual abandonment of naturalistic ornament and the growing prominence of geometry.  \n-The second highlights the contribution of the École de Nancy to this transition. Collaborations between Daum, Louis Majorelle and Jacques Gruber illustrate how the craftsmen of Nancy adapted their expertise to a renewed formal language. Glassware with stylised decoration, furniture with clear, structured lines and stained-glass windows with ordered compositions all signal this turning point.  \n-The third theme brings into focus the new generation of decorative artists such as Jacques-Émile Ruhlmann, Armand-Albert Rateau and Jules Leleu, who embodied the excellence of French decorative arts on the international stage.  \nA decisive moment was the Exposition Internationale des Arts Décoratifs et Industriels Modernes, organised in Paris in 1925, which consecrated this new artistic language. The exhibition represented both a synthesis of the experiments undertaken since the war and a showcase for French prestige. Art Deco appeared there in its full breadth, reconciling artisanal tradition with modernity, luxury with rationality, in a deliberate effort to influence taste on a global scale.  \nWithin this context, the Manufacture nationale de Sèvres played an active role by renewing its productions. Between 1920 and 1938 it pursued a policy of openness to modernity, introducing new materials such as stoneware and earthenware, entrusted to artists including Paul Bonifas, Émile Lenoble, René Buthaud and Félix Aubert.  \nSection wall texts  \nThe Evolution of the Decorative Repertoire and Style  \nThe transition between Art Nouveau and Art Deco was not abrupt.  \nThe sober, geometric style of Henri Bellery-Desfontaines offers an example of late Art Nouveau whose stylistic markers already anticipate those of Art Deco.  \nFrom the 1910s onwards, the new generation of decorative artists gradually abandoned the exuberance of Art Nouveau, which detractors quickly dubbed the “noodle style”. Stylisation, symmetry and the purification of forms replaced the naturalism of the École de Nancy and the celebrated “whiplash” lines of Hector Guimard. Natureparticularly floral motifs-remained an important source of inspiration, however.  \nThe new style also drew upon Antiquity and upon the neoclassical iconography of the eighteenth century: cornucopias, baskets and garlands of fruit or flowers, and fluted furniture legs reminiscent of classical columns were especially favoured by decorators.  \nYet Art Deco was also unmistakably a style of its own time. Modern machines and means of transport—automobiles, trains and ocean liners—as well as references to Cubism entered the decorative vocabulary of the 1920s. Colours became bolder and more contrasted.  \nNew materials were also employed within the decorative arts: eggshell inlay, straw marquetry, as well as shagreen (sharkskin) and plastics such as bakelite and galalith. Designers were equally attracted to exotic materials. The cabinetmaker Jacques-Émile Ruhlmann excelled in selecting rare and precious woods for his furniture, while Jean Dunand mastered the technique of Japanese lacquer.  \nThe École de Nancy and Its Transition towards Art Deco  \nThe death of Émile","cbCaipzIu3npClC5","https://ap.wps.com/l/cbCaipzIu3npClC5","pdf",86875,1,7,"English","en",105,"# Art Deco (1920–1935)\n## Evolution of the Decorative Repertoire and Style\n## The École de Nancy and Its Transition towards Art Deco\n## A New Generation of Decorative Artists","[{\"question\":\"What artistic shift does the room explain between Art Nouveau and Art Deco?\",\"answer\":\"The transition is described as gradual: forms become simplified and more geometric, naturalistic ornament is reduced, symmetry and stylisation increase, and colors become bolder.\"},{\"question\":\"How did the École de Nancy influence the move toward Art Deco?\",\"answer\":\"After 1904 and amid changing tastes, Nancy decorative-arts industrialists renewed their vocabulary. Collaborations involving Daum, Louis Majorelle, and Jacques Gruber show how craft expertise was adapted to a new formal language.\"},{\"question\":\"Which events or institutions are highlighted as decisive for Art Deco’s rise?\",\"answer\":\"The text emphasizes the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris, and notes that the Manufacture nationale de Sèvres renewed productions with new materials and artists between 1920 and 1938.\"}]","Room 16 - Guest Bedchamber - Introductory wall text | PDF",1787860131,11,{"code":4,"msg":31,"data":32},"ok",{"site_id":24,"language":23,"slug":33,"title":13,"keywords":34,"description":14,"schema_data":35,"social_meta":86,"head_meta":88,"extra_data":90,"updated_unix":28},"room-16-guest-bedchamber-introductory-wall-text","",{"@graph":36,"@context":85},[37,53,68],{"@type":38,"itemListElement":39},"BreadcrumbList",[40,44,47,50],{"item":41,"name":42,"@type":43,"position":20},"https://docshare.wps.com","Home","ListItem",{"item":45,"name":46,"@type":43,"position":11},"https://docshare.wps.com/document/","Document",{"item":48,"name":12,"@type":43,"position":49},"https://docshare.wps.com/document/literature/",3,{"item":51,"name":13,"@type":43,"position":52},"https://docshare.wps.com/document/room-16-guest-bedchamber-introductory-wall-text/152363/",4,{"url":51,"name":13,"@type":54,"author":55,"headline":13,"publisher":57,"fileFormat":60,"inLanguage":23,"description":14,"dateModified":61,"datePublished":62,"encodingFormat":60,"isAccessibleForFree":63,"interactionStatistic":64},"DigitalDocument",{"name":9,"@type":56},"Person",{"url":41,"name":58,"@type":59},"DocShare","Organization","application/pdf","2026-09-04","2026-08-27",true,{"@type":65,"interactionType":66,"userInteractionCount":20},"InteractionCounter",{"@type":67},"ViewAction",{"@type":69,"mainEntity":70},"FAQPage",[71,77,81],{"name":72,"@type":73,"acceptedAnswer":74},"What artistic shift does the room explain between Art Nouveau and Art Deco?","Question",{"text":75,"@type":76},"The transition is described as gradual: forms become simplified and more geometric, naturalistic ornament is reduced, symmetry and stylisation increase, and colors become bolder.","Answer",{"name":78,"@type":73,"acceptedAnswer":79},"How did the École de Nancy influence the move toward Art Deco?",{"text":80,"@type":76},"After 1904 and amid changing tastes, Nancy decorative-arts industrialists renewed their vocabulary. Collaborations involving Daum, Louis Majorelle, and Jacques Gruber show how craft expertise was adapted to a new formal language.",{"name":82,"@type":73,"acceptedAnswer":83},"Which events or institutions are highlighted as decisive for Art Deco’s rise?",{"text":84,"@type":76},"The text emphasizes the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris, and notes that the Manufacture nationale de Sèvres renewed productions with new materials and artists between 1920 and 1938.","https://schema.org",{"og:url":51,"og:type":87,"og:title":13,"og:site_name":58,"og:description":14},"article",{"robots":89,"canonical":51},"index,follow",{"doc_id":7,"site_id":24},{"code":4,"msg":5,"data":92},[93,97,100,104,109,114,118,123,128,131,135],{"id":20,"doc_module":4,"doc_module_name":46,"category_name":94,"show_sort_weight":95,"slug":96},"Story & Novel",90,"story-novel",{"id":11,"doc_module":4,"doc_module_name":46,"category_name":12,"show_sort_weight":98,"slug":99},80,"literature",{"id":52,"doc_module":4,"doc_module_name":46,"category_name":101,"show_sort_weight":102,"slug":103},"Exam",70,"exam",{"id":105,"doc_module":4,"doc_module_name":46,"category_name":106,"show_sort_weight":107,"slug":108},5,"Comic",60,"comic",{"id":110,"doc_module":4,"doc_module_name":46,"category_name":111,"show_sort_weight":112,"slug":113},6,"Technology",50,"technology",{"id":21,"doc_module":4,"doc_module_name":46,"category_name":115,"show_sort_weight":116,"slug":117},"Healthcare",40,"healthcare",{"id":119,"doc_module":4,"doc_module_name":46,"category_name":120,"show_sort_weight":121,"slug":122},8,"Research & Report",30,"research-report",{"id":124,"doc_module":4,"doc_module_name":46,"category_name":125,"show_sort_weight":126,"slug":127},9,"Religion & Spirituality",20,"religion-spirituality",{"id":126,"doc_module":4,"doc_module_name":46,"category_name":129,"show_sort_weight":126,"slug":130},"World Cup","world-cup",{"id":132,"doc_module":4,"doc_module_name":46,"category_name":133,"show_sort_weight":132,"slug":134},10,"Lifestyle","lifestyle",{"id":136,"doc_module":4,"doc_module_name":46,"category_name":137,"show_sort_weight":105,"slug":138},19,"General","general"]