Editing Art Deco (section)

==Late Art Deco==
<gallery mode="packed" heights="200px">
File:1 Piața Sfântul Ștefan, Bucharest (01).jpg|Piața Sfântul Ștefan no. 1 in [[Bucharest]], by unknown architect ({{circa|1930}})
File:St Jan de Doperkerk in Molenbeek.jpg|[[Church of St. John the Baptist, Molenbeek|Church of St. John the Baptist]] in [[Molenbeek-Saint-Jean|Molenbeek]] (Brussels), by Joseph Diongre (1930–1932)
File:Miami Beach FL Lincoln Mall Lincoln Theatre01.jpg|[[Lincoln Theatre (Miami Beach, Florida)|Lincoln Theater]] in [[Miami Beach, Florida]], by [[Thomas W. Lamb]] (1936)
File:Paris 75016 Fontaines du Trocadéro 20090815.jpg|[[Palais de Chaillot]] in [[Paris]] by [[Louis-Hippolyte Boileau]], [[Jacques Carlu]] and [[Léon Azéma]] from the [[Exposition Internationale des Arts et Techniques dans la Vie Moderne|1937 Paris International Exposition]]
File:L'exposition Auguste Perret (Conseil économique, social et environnemental, Paris) (11872278295).jpg|Stairway of the [[French Economic, Social and Environmental Council|Economic and Social Council]] in Paris, originally the Museum of Public Works, built for the 1937 Exposition, by [[Auguste Perret]] (1937)
File:KingCityHS-RobertStantonTheater.jpg|High School in [[King City, California]], built by Robert Stanton for the [[Works Progress Administration]] (1939)
</gallery>

In 1925, two different competing schools coexisted within Art Deco: the traditionalists, who had founded the Society of Decorative Artists; included the furniture designer Emile-Jacques Ruhlmann, [[Jean Dunand]], the sculptor Antoine Bourdelle, and designer Paul Poiret; they combined modern forms with traditional craftsmanship and expensive materials. On the other side were the modernists, who increasingly rejected the past and wanted a style based upon advances in new technologies, simplicity, a lack of decoration, inexpensive materials, and mass production. The modernists founded their own organisation, [[The French Union of Modern Artists]], in 1929. Its members included architects [[Pierre Chareau]], [[Francis Jourdain]], [[Robert Mallet-Stevens]], Corbusier, and, in the Soviet Union, [[Konstantin Melnikov]]; the Irish designer Eileen Gray; the French designer Sonia Delaunay; and the jewellers [[Georges Fouquet]] and [[Jean Puiforcat]]. They fiercely attacked the traditional Art Deco style, which they said was created only for the wealthy, and insisted that well-constructed buildings should be available to everyone, and that form should follow function. The beauty of an object or building resided in whether it was perfectly fit to fulfil its function. Modern industrial methods meant that furniture and buildings could be mass-produced, not made by hand.<ref>Le Corbusier, ''Vers une architecture'', Flammarion, republished in 1995, page xix</ref><ref>Larousse Encyclopedia on-line edition (in French){{full citation needed|date=August 2021|reason=Should be able to at least supply a URL if it is on-line.}}</ref>{{page needed|date=January 2022|reason=Will be able to find citation, but there is multiple volumes, so many pages. Which?}}

The Art Deco interior designer Paul Follot defended Art Deco in this way: "We know that man is never content with the indispensable and that the superfluous is always needed...If not, we would have to get rid of music, flowers, and perfumes..!"{{Sfn|Duncan|1988|page=8}} However, Le Corbusier was a brilliant publicist for modernist architecture; he stated that a house was simply "a machine to live in", and tirelessly promoted the idea that Art Deco was the past and modernism was the future. Le Corbusier's ideas were gradually adopted by architecture schools, and the aesthetics of Art Deco were abandoned. The same features that made Art Deco popular in the beginning, its craftsmanship, rich materials and ornament, led to its decline. The Great Depression that began in the United States in 1929, and reached Europe shortly afterwards, greatly reduced the number of wealthy clients who could pay for the furnishings and art objects. In the Depression economic climate, few companies were ready to build new skyscrapers.<ref name="Goss" /> Even the Ruhlmann firm resorted to producing pieces of furniture in series, rather than individual hand-made items. The last buildings built in Paris in the new style were the Museum of Public Works by Auguste Perret (now the [[French Economic, Social and Environmental Council]]), the [[Palais de Chaillot]] by [[Louis-Hippolyte Boileau]], [[Jacques Carlu]] and [[Léon Azéma]], and the [[Palais de Tokyo]] of the [[Exposition Internationale des Arts et Techniques dans la Vie Moderne|1937 Paris International Exposition]]; they looked out at the grandiose pavilion of Nazi Germany, designed by [[Albert Speer]], which faced the equally grandiose socialist-realist pavilion of Stalin's Soviet Union.

After World War II, the dominant architectural style became the International Style pioneered by Le Corbusier, and [[Mies van der Rohe]]. A handful of Art Deco hotels were built in [[Miami Beach, Florida|Miami Beach]] after World War II, but elsewhere the style largely vanished, except in industrial design, where it continued to be used in automobile styling and products such as jukeboxes. In the 1960s, it experienced a modest academic revival, thanks in part to the writings of architectural historians such as Bevis Hillier. In the 1970s efforts were made in the United States and Europe to preserve the best examples of Art Deco architecture, and many buildings were restored and repurposed. [[Postmodern architecture]], which first appeared in the 1980s, like Art Deco, often includes purely decorative features.<ref name="Goss" /><ref name="Art Deco Style" /><ref name="Design Handbook">{{cite book |last1=Fell | first1=Charlotte |first2=Peter |last2=Fell |title=Design Handbook: Concepts, Materials and Styles |publisher=Taschen |year=2006 |edition=1 }}</ref><ref name="Art Deco (1920s to 1930s)">{{cite web |url=http://arthistory.heindorffhus.dk/frame-Style21-ArtDeco.htm |title=Art Deco (1920s to 1930s) |last=Heindorf |first=Anne |date=24 July 2006 |access-date=6 November 2008 |archive-url=https://web.archive.org/web/20080207022236/http://arthistory.heindorffhus.dk/frame-Style21-ArtDeco.htm |archive-date=7 February 2008 |url-status=dead }}</ref> Deco continues to inspire designers, and is often used in contemporary fashion, jewellery, and toiletries.<ref>{{cite web |url=http://www.library.unsw.edu.au/~thesis/adt-NUN/uploads/approved/adt-NUN20060515.093519/public/02whole.pdf |title=The Decorative in Twentieth Century Art: A Story of Decline and Resurgence |first=Pamela |last=Gaunt |date=August 2005 |url-status = dead|archive-url=https://web.archive.org/web/20081217013725/http://www.library.unsw.edu.au/~thesis/adt-NUN/uploads/approved/adt-NUN20060515.093519/public/02whole.pdf |archive-date=17 December 2008 }}</ref>