Editing Art Deco (section)

==Origins==
===New materials and technologies===
New materials and technologies, especially [[reinforced concrete]], were key to the development and appearance of Art Deco. The first concrete house was built in 1853 in the Paris suburbs by François Coignet. In 1877 [[Joseph Monier]] introduced the idea of strengthening the concrete with a mesh of iron rods in a grill pattern. In 1893, [[Auguste Perret]] built the first concrete garage in Paris, then an apartment building, house, then, in 1913, the [[Théâtre des Champs-Élysées]]. The theatre was denounced by one critic as the "Zeppelin of Avenue Montaigne", an alleged Germanic influence, copied from the [[Vienna Secession]]. Thereafter, the majority of Art Deco buildings were made of reinforced concrete, which gave greater freedom of form and less need for reinforcing pillars and columns. Perret was also a pioneer in covering the concrete with [[ceramic tile]]s, both for protection and decoration. The architect [[Le Corbusier]] first learned the uses of reinforced concrete working as a draftsman in Perret's studio.{{sfn|Cabanne|1986|page=225}}

Other new technologies that were important to Art Deco were new methods in producing [[plate glass]], which was less expensive and allowed much larger and stronger windows, and for mass-producing [[Aluminium alloy|aluminium]], which was used for building and window frames and later, by Corbusier, [[Warren McArthur]], and others, for lightweight furniture.

=== Vienna Secession and Wiener Werkstätte (1897–1912) ===
The architects of the [[Vienna Secession]] (formed 1897), especially [[Josef Hoffmann]], had a notable influence on Art Deco. His [[Stoclet Palace]], in Brussels (1905–1911), was a prototype of the Art Deco style, featuring geometric volumes, symmetry, straight lines, concrete covered with marble plaques, finely-sculpted ornament, and lavish interiors, including mosaic friezes by [[Gustav Klimt]]. Hoffmann was also a founder of the [[Wiener Werkstätte]] (1903–1932), an association of craftsmen and interior designers working in the new style. This became the model for the ''Compagnie des arts français'', created in 1919, which brought together [[André Mare]] and [[Louis Süe]], the first leading French Art Deco designers and decorators.{{sfn|Texier|2019|pp=5–7}}

<gallery mode="packed" heights="200px">
File:Secession 2016, Vienna.jpg|[[Secession Building]] in [[Vienna]] by [[Joseph Maria Olbrich]] (1897–98)
Penzing (Wien) - Kirche am Steinhof (2).JPG|[[Kirche am Steinhof|Church of St. Leopold]] in Vienna by [[Otto Wagner]] (1903–1907)
File:Wien - Österreichische Postsparkasse, Georg-Coch-Platz.JPG|[[Austrian Postal Savings Bank]] in Vienna by Wagner (1904–1912)
File:20120923 Brussels PalaisStoclet Hoffmann DSC06725 PtrQs.jpg|[[Stoclet Palace]] in [[Brussels]] by [[Josef Hoffmann]] (1905–1911)
File:Bruxelles - Palais Stoclet (6).jpg|Detail of the Stoclet Palace's façade, made of reinforced concrete covered with marble plaques
</gallery>

===Society of Decorative Artists (1901–1945)===
The emergence of Art Deco was closely connected with the rise in status of decorative artists, who until late in the 19th century were considered simply artisans. The term {{lang|fr|arts décoratifs}} had been invented in 1875{{citation needed|date=December 2023}}, giving the designers of furniture, textiles, and other decoration official status. The ''Société des artistes décorateurs'' (Society of Decorative Artists), or SAD, was founded in 1901, and decorative artists were given the same rights of authorship as painters and sculptors. A similar movement developed in Italy. The first international exhibition devoted entirely to the decorative arts, the ''[[Prima Esposizione Internazionale d'Arte Decorativa Moderna|Esposizione Internazionale d'Arte Decorativa Moderna]]'', was held in [[Turin]] in 1902. Several new magazines devoted to decorative arts were founded in Paris, including ''Arts et décoration'' and ''L'Art décoratif moderne''. Decorative arts sections were introduced into the annual salons of the ''Sociéte des artistes français'', and later in the {{lang|fr|[[Salon d'Automne]]}}. French nationalism also played a part in the resurgence of decorative arts, as French designers felt challenged by the increasing exports of less expensive German furnishings. In 1911, SAD proposed a major new international exposition of decorative arts in 1912. No copies of old styles would be permitted, only modern works. The exhibit was postponed until 1914; and then, because of the war, until 1925, when it gave its name to the whole family of styles known as "Déco".{{Sfn|Benton|Benton|Wood|2003|pages=165–170}}

<gallery mode="packed" heights="200">
File:Art Deco table, chairs, carpet.jpg|Table and chairs by [[Maurice Dufrêne]] and carpet by [[Paul Follot]] at the 1912 [[Société des artistes décorateurs|Salon des artistes décorateurs]]
File:‘Lady with Panther’ by George Barbier for Cartier, 1914.jpg|''Lady with Panther'' by [[George Barbier (illustrator)|George Barbier]] for [[Louis Cartier]] (1914). Display card commissioned by Cartier shows a woman in a [[Paul Poiret]] gown.
File:Jacques-émile ruhlmann, poltrona 'oreille cassée', parigi 1914, 01.JPG|Armchair by [[Émile-Jacques Ruhlmann]] (1914), now in the [[Musée d'Orsay]], Paris
</gallery>

Parisian department stores and fashion designers also played an important part in the rise of Art Deco. Prominent businesses such as silverware firm [[Christofle]], glass designer [[René Lalique]], and the jewellers [[Louis Cartier]] and [[Boucheron]] began designing products in more modern styles.<ref>{{cite web| url = https://books.google.com/books?id=yslUAAAAMAAJ&q=Art+Deco.+Louis+Vuitton,+Christofle,+Ren%C3%A9+Lalique,+Louis+Cartier,+Boucheron| title = ''Metropolitan Review, Volume 2'', Metropolitan Press Publications, 1989, p. 8| year = 1989}}</ref><ref name="Campbell">[https://books.google.com/books?id=i3Od9bcGus0C&q=%22Andr%C3%A9+Vera%22&pg=PA42 Campbell, Gordon, ''The Grove Encyclopedia of Decorative Arts'', Oxford University Press, USA, 9 Nov 2006] {{Webarchive|url=https://web.archive.org/web/20221206151135/https://books.google.fr/books?id=i3Od9bcGus0C&lpg=PA42&dq=%22The%20Grove%20Encyclopedia%20of%20Decorative%20Arts%22%20%22Andr%C3%A9%20Vera%22%20gordon%20campbell&pg=PA42#v=onepage&q=%22Andr%C3%A9%20Vera%22&f=false |date=6 December 2022 }}, pp. 42 (Vera), 43 (Cartier), 243 (Christofle), 15, 515, 527 (Lalique), 13, 134 (Boucheron), {{ISBN|0195189485}}</ref> Beginning in 1900, department stores recruited decorative artists to work in their design studios. The decoration of the 1912 ''Salon d'Automne'' was entrusted to the department store ''[[Printemps]]'',<ref name="Salon d'Automne 2012">{{Cite web |url=http://www.salon-automne.com/wp-content/uploads/2013/01/catalogue-SA-2012.pdf |title=Salon d'Automne 2012, exhibition catalogue |access-date=10 October 2016 |archive-date=1 February 2018 |archive-url=https://web.archive.org/web/20180201192912/http://www.salon-automne.com/wp-content/uploads/2013/01/catalogue-SA-2012.pdf |url-status=dead }}</ref><ref name="Campbell2">[https://books.google.com/books?id=i3Od9bcGus0C&q=Printemps&pg=PA43 Campbell, Gordon, ''The Grove Encyclopedia of Decorative Arts'', Oxford University Press, USA, 9 Nov 2006] {{Webarchive|url=https://web.archive.org/web/20221206151122/https://books.google.fr/books?id=i3Od9bcGus0C&lpg=PA42&dq=%22The%20Grove%20Encyclopedia%20of%20Decorative%20Arts%22%20%22Andr%C3%A9%20Vera%22%20gordon%20campbell&pg=PA43#v=onepage&q=Printemps&f=false |date=6 December 2022 }}, pp. 42-43 {{ISBN|0195189485}}</ref> and that year it created its own workshop, ''Primavera''.<ref name="Campbell2" /> By 1920 ''Primavera'' employed more than 300 artists, whose styles ranged from updated versions of [[Louis XIV style|Louis XIV]], [[Louis XVI style|Louis XVI]], and especially [[Louis Philippe style|Louis Philippe]] furniture made by [[Louis Süe]] and the ''Primavera'' workshop, to more modern forms from the workshop of the ''Au Louvre'' department store. Other designers, including [[Émile-Jacques Ruhlmann]] and Paul Follot, refused to use mass production, insisting that each piece be made individually. The early Art Deco style featured luxurious and exotic materials such as [[ebony]], [[ivory]] and silk, very bright colours and stylized [[Motif (visual arts)|motifs]], particularly baskets and bouquets of flowers of all colours, giving a modernist look.<ref name="benton165">Laurent, Stephane, "L'artiste décorateur", in ''Art Deco, 1910–1939'' by Charlotte Benton, Tim Benton and Ghislain Wood (2002), Renaissance du Livre, pages 165–171</ref>

===Salon d'Automne (1903–1914)===
{{Main|Salon d'Automne}}
<gallery mode="packed" heights="200px">
File:Scheherazade (Rimsky-Korsakov) 02 by L. Bakst 2.jpg|Set for [[Nikolai Rimsky-Korsakov]]'s ballet ''[[Scheherazade (Rimsky-Korsakov)|Sheherazade]]'' by [[Léon Bakst]] (1910)
File:Art Deco Armchair.jpg|Art Deco armchair made for art collector [[Jacques Doucet (fashion designer)|Jacques Doucet]] (1912–13)
File:Display at Salon D'Automne (1913).jpg|Display of early Art Deco furnishings by the Atelier français at the 1913 {{lang|fr|[[Salon d'Automne]]|italic=no}} from ''Art et décoration'' magazine (1914)
</gallery>

At its birth between 1910 and 1914, Art Deco was an explosion of colours, featuring bright and often clashing hues, frequently in floral designs, presented in furniture [[upholstery]], carpets, screens, wallpaper and fabrics. Many colourful works, including chairs and a table by [[Maurice Dufrêne]] and a bright Gobelin carpet by [[Paul Follot]] were presented at the 1912 [[Société des artistes décorateurs|Salon des artistes décorateurs]]. In 1912–1913 designer [[Adrien Karbowsky]] made a floral chair with a parrot design for the hunting lodge of art collector [[Jacques Doucet (fashion designer)|Jacques Doucet]].<ref>{{cite web |title=Bergère - Adrien Karbowsky |url=https://www.musee-orsay.fr/fr/oeuvres/bergere-151537 |archive-url=https://web.archive.org/web/20220108032535/https://www.musee-orsay.fr/fr/oeuvres/bergere-151537 |archive-date=8 January 2022 |access-date=8 January 2022 |website=www.musee-orsay.fr |publisher=Musee d'Orsay}}</ref> The furniture designers Louis Süe and [[André Mare]] made their first appearance at the 1912 exhibit, under the name of the ''Atelier français'', combining polychromatic fabrics with exotic and expensive materials, including ebony and ivory. After World War I, they became one of the most prominent French interior design firms, producing the furniture for the first-class salons and cabins of the French transatlantic [[ocean liner]]s.{{Sfn|Arwas|1992|pages=51–55}}

The vivid hues of Art Deco came from many sources, including the exotic set designs by [[Léon Bakst]] for the [[Ballets Russes]], which caused a sensation in Paris just before World War I. Some of the colours were inspired by the earlier [[Fauvism]] movement led by [[Henri Matisse]]; others by the [[Orphism (art)|Orphism]] of painters such as [[Sonia Delaunay]];<ref name="Arwas, Russell">{{cite book |last1=Arwas |first1=Victor |url=https://archive.org/details/Art_Deco_by_Victor_Arwas_and_Frank_Russell |title=Art Deco |last2=Russell |first2=Frank |date=1980 |publisher=Harry N. Abrams. Inc. |isbn=0-8109-0691-0 |location=New York |pages=21, 52, 85, 171–184, 197–198}}</ref> others by the movement known as [[Les Nabis]], and in the work of symbolist painter Odilon Redon, who designed fireplace screens and other decorative objects. Bright shades were a feature of the work of fashion designer [[Paul Poiret]], whose work influenced both Art Deco fashion and interior design.{{Sfn|Arwas|1992|pages=51–55}}<ref name="Duncan 1988">{{cite book |last=Duncan |first=Alastair |url=https://archive.org/details/encyclopediaofar0000unse_q3m2/page/6/mode/2up?q=cubism |title=The Encyclopedia of Art Deco, An Illustrative Guide to a Decorative Style from 1920 to 1939 |publisher=E. P. Dutton |year=1988 |isbn=9780525246138 |location=New York |pages=46–47, 71, 73, 76, 82, 130 |ref=none}}</ref><ref name="Mackrell">{{cite book |last=Mackrell |first=Alice |url=https://archive.org/details/paulpoiret0000mack/page/16/mode/2up?q=cubism |title=Paul Poiret |date=1990 |publisher=Holmes & Meier |location=New York |pages=16, 56}}</ref>

=== Théâtre des Champs-Élysées (1910–1913) ===
<gallery mode="packed" heights="200">
File:Théâtre des Champs-Élysées DSC09330.jpg|[[Théâtre des Champs-Élysées]] by [[Auguste Perret]] at 15, avenue Montaigne, [[Paris]] (1910–1913). Reinforced concrete gave architects the ability to create new forms and bigger spaces.
File:"La Danse", bas-relief d'Antoine Bourdelle (Théâtre des Champs Elysées, Paris).jpg|''La Danse'', [[Relief#Low relief or bas-relief|bas-relief]] on the façade of the Théâtre des Champs-Élysées by [[Antoine Bourdelle]] (1912)
File:Theatre Champs Elysees 35.jpg|Interior of the Théâtre des Champs-Élysées, with Bourdelle's bas-reliefs over the stage
File:Plafond du Théâtre des Champs-Élysées à Paris.JPG|Dome of the Theater, with Art Deco rose design by [[Maurice Denis]]
</gallery>
{{wide image|Antoine Bourdelle, 1910-12, Apollon et sa méditation entourée des 9 muses (The Meditation of Apollon and the Muses), bas-relief, Théâtre des Champs Elysées DSC09313.jpg|1100px| ''Apollon et sa méditation entourée des 9 muses'' (''Apollo and His Meditation Surrounded by the 9 Muses''), bas-relief on the façade of the Théâtre des Champs-Élysées by Bourdelle (1910–1912). This work represents one of the earliest examples of what became known as Art Deco sculpture.}}
The [[Théâtre des Champs-Élysées]] (1910–1913), by [[Auguste Perret]], was the first landmark Art Deco building completed in Paris. Previously, [[reinforced concrete]] had been used only for industrial and apartment buildings, Perret had built the first modern reinforced-concrete apartment building in Paris on rue Benjamin Franklin in 1903–04. [[Henri Sauvage]], another important future Art Deco architect, built another in 1904 at 7, rue Trétaigne (1904). From 1908 to 1910, the 21-year-old Le Corbusier worked as a draftsman in Perret's office, learning the techniques of concrete construction. Perret's building had clean rectangular form, geometric decoration and straight lines, the future trademarks of Art Deco. The décor of the theatre was also revolutionary; the [[façade]] was decorated with [[High-relief|high reliefs]] by [[Antoine Bourdelle]], a dome by [[Maurice Denis]], paintings by [[Édouard Vuillard]], and an Art Deco curtain by [[Ker-Xavier Roussel]]. The theatre became the venue for many of the first performances of the [[Ballets Russes]].<ref name="Bevis Hillier">{{cite book |url=https://archive.org/details/styleofcentury1900hill/page/62/mode/2up?q=cubism |first=Bevis |last=Hillier |title=The style of the century, 1900–1980 |publisher=Dutton |location=New York |date=1983 |pages=62, 67, 70}}</ref> Perret and Sauvage became the leading Art Deco architects in Paris in the 1920s.<ref>{{cite book |first=Peter |last=Collins |title=Concrete: The Vision of a New Architecture |location=New York |publisher=Horizon Press |date=1959}}</ref>{{Sfn|Poisson|2009|pages=318–319}}

===Cubism===
<gallery mode="packed" heights="200">
File:Raymond Duchamp-Villon, 1912, Projet d'hôtel, Maquette de la façade de la Maison Cubiste, published in Les Peintres Cubistes, 1913.jpg|Design for the façade of ''[[La Maison Cubiste]]'' (''Cubist House'') by [[Raymond Duchamp-Villon]] (1912)
File:Raymond Duchamp-Villon, 1912, La Maison Cubiste (Cubist House) at the Salon d'Automne, 1912, detail of the entrance. Photograph by Duchamp-Villon.jpg|Detail of the entrance of ''La Maison Cubiste'' at the 1912 Salon d'Automne
File:La Maison Cubiste, Le Salon Bourgeois, Salon d'Automne, 1912, Paris.jpg|''Le Salon Bourgeois'', designed by [[André Mare]] inside ''La Maison Cubiste'', in the decorative arts section of the 1912 Salon d'Automne. Metzinger's {{lang|fr|[[Femme à l'Éventail]]}} can be seen hanging on the left wall.
File:Josef Chochol, 1912-13, Cubist villa in Libušina Street 3-49, Vyšehrad, Prague, Czech Republic.jpg|Cubist villa at 3-49 Libušina Street, [[Vyšehrad]] (Prague), by [[Josef Chochol]] (1912–13). Chochol was one of three Czech architects (members of the [[Mánes Union of Fine Arts]]), with [[Pavel Janák]] and [[Josef Gočár]], influenced by Cubism.
</gallery>
[[File:Joseph Csaky, 1912, Danseuse, Femme à l'éventail, Femme à la cruche, original plaster, photo from Csaky archives AC.110.jpg|thumb|upright|''[[Danseuse (Csaky)|Danseuse (Femme à l'éventail, Femme à la cruche)]]'' by [[Joseph Csaky]] (1912), original plaster, exhibited at the 1912 {{lang|fr|[[Salon d'Automne]]|italic=no}} and the 1914 [[Salon des Indépendants]], a proto-Art Deco sculpture]]

The [[art movement]] known as [[Cubism]] appeared in France between 1907 and 1912, influencing the development of Art Deco.<ref name="Bevis Hillier" /><ref name="Arwas, Russell" /><ref name="Duncan 1988" /> In ''Art Deco Complete: The Definitive Guide to the Decorative Arts of the 1920s and 1930s'' Alastair Duncan writes "Cubism, in some bastardized form or other, became the lingua franca of the era's decorative artists."<ref name="Duncan 1988" /><ref>{{cite book|last=Duncan |first=Alastair |title=Art Deco Complete: The Definitive Guide to the Decorative Arts of the 1920s and 1930s |publisher=Abrams |year= 2009 |isbn=978-0-8109-8046-4 }}</ref> The Cubists, themselves under the influence of [[Paul Cézanne]], were interested in the simplification of forms to their geometric essentials: the cylinder, the sphere, the cone.<ref name="Erle Lora">{{cite book |last=Loran |first=Erle |url=https://books.google.com/books?id=vpbEHESVx9cC&pg=PA9 |page=9|isbn=978-0-520-00768-0 |title=Cézanne's Composition: Analysis of His Form, with Diagrams and Photographs of His Motifs |publisher=University of California Press |year=1963 }}</ref><ref name="Goss">{{cite web |author=Goss, Jared |title=French Art Deco |url=https://www.metmuseum.org/toah/hd/frdc/hd_frdc.htm |url-status=live |archive-url=https://web.archive.org/web/20220331091103/https://www.metmuseum.org/toah/hd/frdc/hd_frdc.htm |archive-date=31 March 2022 |access-date=|date = June 2010 |publisher=Metropolitan Museum of Art}}</ref>

In 1912, the artists of the [[Section d'Or]] exhibited works considerably more accessible to the general public than the analytical Cubism of Picasso and Braque. The Cubist vocabulary was poised to attract fashion, furniture and interior designers.<ref name="Arwas, Russell" /><ref name="Mackrell" /><ref name="Goss" /><ref>''La Section d'or, 1912-1920-1925'', Cécile Debray, Françoise Lucbert, Musées de Châteauroux, Musée Fabre, exhibition catalogue, Éditions Cercle d'art, Paris, 2000</ref>

In the ''Art Décoratif'' section of the 1912 Salon d'Automne, an architectural installation was exhibited known as ''[[La Maison Cubiste]]''.<ref>Eve Blau, Nancy J. Troy, "The ''Maison Cubiste'' and the meaning of modernism in pre-1914 France", in ''Architecture and Cubism'', Montreal, Cambridge, MA, London: MIT Press−Centre Canadien d'Architecture, 1998, pp. 17–40, {{ISBN|0-262-52328-0}}</ref><ref>Nancy J. Troy, ''Modernism and the Decorative Arts in France: Art Nouveau to Le Corbusier'', New Haven CT, and London: Yale University Press, 1991, pp. 79–102, {{ISBN|0-300-04554-9}}</ref> The façade was designed by [[Raymond Duchamp-Villon]]. The décor of the house was by [[André Mare]].<ref>"Portraits of Architects- André Mare" site of the Cité de l'Architecture et du Patrimoine (in French)</ref><ref>{{cite book|first=Christopher |last=Green|year=2000|title=Art in France, 1900–1940|chapter=Chapter 8, Modern Spaces; Modern Objects; Modern People|chapter-url=https://books.google.com/books?id=vlY6SLmg-xEC&pg=PA161|publisher=Yale University Press|isbn=978-0-300-09908-9|page=161}}</ref> ''La Maison Cubiste'' was a furnished installation with a façade, a staircase, wrought iron banisters, a bedroom, a living room—the ''Salon Bourgeois'', where paintings by [[Albert Gleizes]], [[Jean Metzinger]], [[Marie Laurencin]], [[Marcel Duchamp]], [[Fernand Léger]] and [[Roger de La Fresnaye]] were hung.<ref>André Mare, ''Salon Bourgeois, Salon d'Automne'', The Literary Digest, ''Doom of the Antique'', 30 November 1912, p. 1012</ref><ref>[http://chroniclingamerica.loc.gov/lccn/sn83030272/1912-11-10/ed-1/seq-46/ ''The Sun'' (New York, N.Y.)] {{Webarchive|url=https://web.archive.org/web/20150217234104/http://chroniclingamerica.loc.gov/lccn/sn83030272/1912-11-10/ed-1/seq-46/ |date=17 February 2015 }}, 10 November 1912. Chronicling America: Historic American Newspapers. Lib. of Congress</ref><ref>Ben Davis, [https://news.artnet.com/exhibitions/cubism-at-the-met-modern-art-that-looks-tragically-antique-157075 '"Cubism" at the Met: Modern Art That Looks Tragically Antique'] {{Webarchive|url=https://web.archive.org/web/20160927012922/https://news.artnet.com/exhibitions/cubism-at-the-met-modern-art-that-looks-tragically-antique-157075 |date=27 September 2016 }}, Exhibition: "Cubism: The Leonard A. Lauder Collection", Metropolitan Museum of Art, ''ArtNet News'', 6 November 2014</ref> Thousands of spectators at the salon passed through the full-scale model.<ref>{{cite web |website=kubisme.info |language=Dutch |url=http://www.kubisme.info/kt324a.html |title=La Maison Cubiste, 1912 |url-status=usurped |archive-date=13 March 2013 |archive-url=https://web.archive.org/web/20130313233214/http://www.kubisme.info/kt324a.html}}</ref>

The façade of the house, designed by Duchamp-Villon, was not very radical by modern standards; the lintels and pediments had prismatic shapes, but otherwise the façade resembled an ordinary house of the period. For the two rooms, Mare designed the wallpaper, which featured stylized roses and floral patterns, along with upholstery, furniture and carpets, all with flamboyant and colourful motifs. It was a distinct break from traditional décor. The critic Emile Sedeyn described Mare's work in the magazine ''Art et Décoration'': "He does not embarrass himself with simplicity, for he multiplies flowers wherever they can be put. The effect he seeks is obviously one of picturesqueness and gaiety. He achieves it."{{Sfn|Arwas|1992|page=52}} The Cubist element was provided by the paintings. The installation was attacked by some critics as extremely radical, which helped make for its success.{{Sfn|Arwas|1992|page=54}} This architectural installation was subsequently exhibited at the 1913 [[Armory Show]], New York City, Chicago and Boston.<ref name="Arwas, Russell" /><ref name="Goss" /><ref>{{cite web| url = http://www.kubisme.info/kt315s.html| title = Kubistische werken op de Armory Show}}</ref><ref>[http://www.aaa.si.edu/collections/images/detail/detail-duchampvillons-faade-architecturale-14604 Detail of Duchamp-Villon's ''Façade architecturale'', catalog number 609, unidentified photographer, 1913. Walt Kuhn, Kuhn family papers, and Armory Show records, 1859–1984, bulk 1900–1949] {{Webarchive|url=https://web.archive.org/web/20130314150144/http://www.aaa.si.edu/collections/images/detail/detail-duchampvillons-faade-architecturale-14604 |date=14 March 2013 }}. Archives of American Art, Smithsonian Institution</ref><ref>[https://archive.org/stream/catnter00unse/catnter00unse_djvu.txt "Catalogue of international exhibition of modern art: at the Armory of the Sixty-ninth Infantry, 1913], Duchamp-Villon, Raymond, ''Facade Architectural''</ref> Thanks largely to the exhibition, the term "Cubist" began to be applied to anything modern, from women's haircuts to clothing to theater performances."{{Sfn|Arwas|1992|page=54}}

The Cubist influence continued within Art Deco, even as Deco branched out in many other directions.<ref name="Arwas, Russell" /><ref name="Duncan 1988" />

<blockquote>Cubism's adumbrated geometry became coin of the realm in the 1920s. Art Deco's development of Cubism's selective geometry into a wider array of shapes carried Cubism as a pictorial taxonomy to a much broader audience and wider appeal. (Richard Harrison Martin, Metropolitan Museum of Art)<ref>[https://books.google.com/books?id=M0brAAAAMAAJ Richard Harrison Martin, ''Cubism and Fashion'', Metropolitan Museum of Art (New York, N.Y.), 1998, p. 99] {{Webarchive|url=https://web.archive.org/web/20221206151121/https://books.google.es/books/about/Cubism_and_Fashion.html?id=M0brAAAAMAAJ&redir_esc=y |date=6 December 2022 }}, {{ISBN|0870998889}}</ref></blockquote>