Editing Neoclassicism (section)

===Art Deco===
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Clément mère, comodino, francia 1910 ca. 01.JPG|Chest of drawers, a highly simplified reinterpretation of the [[Louis XVI style]]; by [[Clément Mère]]; 1910; maple, ebony, leather and ivory; 87.5 x 96 x 37&nbsp;cm; [[Musée d'Orsay]], Paris<ref>{{cite web|url=https://www.musee-orsay.fr/fr/oeuvres/commode-deux-vantaux-cabinet-de-milieu-163331|website=musee-orsay.fr|title=Commode à deux vantaux, cabinet de milieu|author=|access-date=25 June 2023}}</ref>

File:Art Deco dressing table (1919-20).jpg|Dressing table and chair, a reinterpretation of the Louis XVI style; by [[Paul Follot]]; 1919; marble and encrusted, lacquered, and gilded wood; unknown dimensions; [[Musée d'Art Moderne de Paris]]

The Gulbenkian Museum (40658606370).jpg|''Hommage à Jean Goujon''; by [[Alfred Janniot]]; 1919–1924; limestone partially coloured; 220 x 235 x 129&nbsp;cm; [[Calouste Gulbenkian Museum]], Lisbon, Portugal<ref>{{cite web|url=https://gulbenkian.pt/museu/works_museu/a-primavera-homenagem-a-jean-goujon/|website=gulbenkian.pt|title=A Primavera: Homenagem a Jean Goujon|author=|access-date=25 June 2023}}</ref>

Plate from the collection of projects Architectures by Louis Süe and André Mare, 1921, prefaced by Paul Valéry's text Eupalions ou l'architecte.jpg|Plate with design for an interior from the collection of projects ''Architectures'', by [[Louis Süe]] and [[André Mare]], 1921

File:Boudoir from the Hôtel du Collectionneur, at the 1925 Paris Exhibition, by Émile-Jacques Ruhlmann.jpg|[[Boudoir]] from the [[Hôtel du Collectionneur]], a highly simplified reinterpretation of the Louis XVI style, at the [[International Exhibition of Modern Decorative and Industrial Arts|1925 Paris Exhibition]], by [[Émile-Jacques Ruhlmann]]

File:1925 unlicensed copy of Madeleine Vionnet’s “Little Horses” dress.jpg|"Little Horses" dress; by [[Madeleine Vionnet]]; 1925; rayon crepe, black and gold seed beads; [[Museum at the Fashion Institute of Technology]], New York

Palais de Tokyo, Musée d'Art Moderne de la Ville de Paris.jpg|[[Palais de Tokyo]], Paris, by [[André Aubert]] and [[Marcel Dastugue]], 1937

Beograd - Ambasada Francuske u Srbiji (31092842098).jpg|[[Embassy of France, Belgrade]], Serbia, by [[Roger-Henri Expert]] with [[Josif Najman]] as assistant, designed in 1926, built in 1939<ref>{{Cite journal|url=https://www.academia.edu/21221965|title=Arhitekt Josif Najman (1890-1951), Moment 18, Beograd 1990, 100-106|last1=Kadijevic|first1=Aleksandar}}</ref><ref>{{cite book|last1=Criticos|first1=Mihaela|title=Art Deco sau Modernismul Bine Temperat - Art Deco or Well-Tempered Modernism|date=2009|publisher=SIMETRIA|isbn=978-973-1872-03-2|page=81|url=|language=Romanian, English}}</ref>

Photo (50 sur 102).jpg|[[Château de Sept-Saulx]], [[Grand Est]], a highly simplified reinterpretation of the Louis XVI style, France, by Louis Süe, 1928-1929<ref name="Art Deco sau Modernismul Bine Tempe">{{cite book|last1=Criticos|first1=Mihaela|title=Art Deco sau Modernismul Bine Temperat - Art Deco or Well-Tempered Modernism|date=2009|publisher=SIMETRIA|isbn=978-973-1872-03-2|page=91|url=|language=Romanian, English}}</ref>

Daily Telegraph Building (24438959395).jpg|[[Daily Telegraph Building]], London, by Charles Ernest Elcock, after consulting with [[Thomas S. Tait]], 1928<ref>{{cite book|title=The Egyptian Revival: Ancient Egypt as the Inspiration for Design Motifs in the West|first=James Stevens|last=Curl|page=412|publisher=Routledge|year=2013|isbn=978-1-134-23467-7}}</ref>

File:Design for Severance Hall grand foyer - Walker and Weeks (39638807102).jpg|Design for Severance Hall grand foyer of the [[Severance Hall]], Cleveland, US, by [[Walker and Weeks]], {{circa}}1930

73 Bulevardul Dacia, Bucharest (01).jpg|Dumitru Săvulescu House ([[Bulevardul Dacia]] no. 73), [[Bucharest]], Romania, by [[Gheorghe Negoescu]], 1933<ref>{{cite book|last1=Woinaroski|first1=Cristina|title=Istorie urbană, Lotizarea și Parcul Ioanid din București în context european|date=2013|publisher=SIMETRIA|isbn=978-973-1872-30-8|page=216|url=|language=ro}}</ref>

File:Grave of the colonel Paul Străjescu Family in the Bellu Cemetery in Bucharest, Romania (04).jpg|Grave of the Străjescu  Family, [[Bellu Cemetery]], Bucharest, by [[George Cristinel]], 1934<ref name="SIMETRIA"/>

53 avenue Foch Paris.jpg|[[Avenue Foch]] no. 53, Paris, by [[Charles Abella]], 1939<ref name="Art Deco sau Modernismul Bine Tempe"/>
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Although it started to be seen as 'dated' after WW1, principles, proportions and other Neoclassical elements were not abandoned yet. [[Art Deco]] was the dominant style during the interwar period, and it corresponds with the taste of a bourgeois elite for high class French styles of the past, including the [[Louis XVI style|Louis XVI]], [[Directorie style|Directoire]] and [[Empire style|Empire]] (the period styles of French Neoclassicism). At the same time, the French elite was equally capable of appreciating [[Modern art]], like the works of [[Pablo Picasso]] or [[Amedeo Modigliani]]. The result of this situation is the early Art Deco style, which uses both new and old elements. The [[Palais de Tokyo]] from 1937 in Paris, by [[André Aubert]] and [[Marcel Dastugue]], is a good example of this. Although ornaments are not used here, the facade being decorated only with [[relief]]s, the way columns are present here is a strong reminiscence of Neoclassicism. Art Deco design often drew on Neoclassical motifs without expressing them overtly: severe, blocky [[commode]]s by [[Émile-Jacques Ruhlmann]] or [[Louis Süe]] & [[André Mare]]; crisp, extremely low-relief friezes of damsels and gazelles in every medium; fashionable dresses that were draped or cut on the bias to recreate Grecian lines; the art dance of [[Isadora Duncan]]. Conservative [[modernist]] architects such as [[Auguste Perret]] in France kept the rhythms and spacing of columnar architecture even in factory buildings.

The oscillation of Art Deco between the use of historic elements, shapes and proportions, and the appetite for 'new', for Modernism, is the result of multiple factors. One of them is '''[[eclecticism]]'''. The complexity and heterogeneity of Art Deco is largely due to the eclectic spirit. Stylized elements from repertoire of Beaux-Arts, Neoclassicism, or of cultures distant in time and space ([[Ancient Egypt]], [[Pre-Columbian Americas]], or Sub-Saharian [[African art]]) are put together with references to Modernist avant-guard artists of the early 20th century ([[Henri Matisse]], [[Amedeo Modigliani]] or [[Constantin Brâncuși]]). The Art Deco phenomenon owes to academic eclecticism and Neoclassicism mainly the existence of a specific architecture. Without the contribution of the Beaux-Arts trained architects, Art Deco architecture would have remained, with the exception of residential buildings, a collection of decorative objects magnified to an urban scale, like the pavilions of the [[International Exhibition of Modern Decorative and Industrial Arts]] from 1925, controversial at their time. Another reason for the swinging between historical elements and modernism was '''consumer culture'''. Objects and buildings in the puritan [[International style (architecture)|International style]], devoid of any ornamentation or citation of the past, were too radical for the general public. In interwar France and England, the spirit of the public and much architectural criticism could not conceive a style totally deprived of ornament, like the International style.

The use of historic styles as sources of inspiration for Art Deco starts as far back as the years before WW1, through the efforts of decorators like [[Maurice Dufrêne]], [[Paul Follot]], [[Paul Iribe]], [[André Groult]], [[Léon Jallot]] or [[Émile-Jacques Ruhlmann]], who relate to the prestigious French artistic and handicraft tradition of the late 18th and early 19th centuries (the Louis XVI, Directoire and [[Louis Philippe style|Louis Philippe]]), and who want to bring a new approach to these styles. The neo-Louis XVI style was really popular in France and Romania in the years before WW1, around 1910, and it heavily influenced multiple early Art Deco designs and buildings. A good example of this is the [[Château de Sept-Saulx]] in [[Grand Est]], France, by [[Louis Süe]], 1928–1929.<ref>{{cite book|last1=Criticos|first1=Mihaela|title=Art Deco sau Modernismul Bine Temperat – Art Deco or Well-Tempered Modernism|date=2009|publisher=SIMETRIA|isbn=978-973-1872-03-2|pages=29, 31, 40, 79, 91|url=|language=Romanian, English}}</ref>