Editing Art Deco (section)

==Furniture==
<gallery mode="packed" heights="200px">
File:Paul follot, sedia, parigi 1914-16 ca.JPG|Chair by [[Paul Follot]] (1912–1914)
File:Art Deco chair and screen (1912 and 1920).jpg|Armchair by [[Louis Süe]] (1912) and painted screen by [[André Mare]] (1920)
File:Art Deco dressing table (1919-20).jpg|Dressing table and chair of marble and encrusted, lacquered, and gilded wood by Follot (1919–20)
File:Emile-Jacques Ruhlmann (French, 1879-1933). Corner Cabinet, ca. 1923..jpg|Corner cabinet of Mahogany with rose basket design of inlaid ivory by [[Émile-Jacques Ruhlmann]] (1923)
File:André Groult, cassettone antropomorphe, parigi, 1925 ca.jpg|Cabinet covered with [[shagreen]] or sharkskin by [[André Groult]] (1925)
File:J.-E. Ruhlmann au Musée des Années 30 (Boulogne-Billancourt) (2132077838).jpg|Cabinet by Ruhlmann (1926)
File:Jacques-Emile Ruhlmann (Musée des Beaux-Arts de Lyon) (5469658728).jpg|Cabinet design by Ruhlmann
File:Gio ponti ed emilio lancia, sala da pranzo 'domus nova', 1927, 02.JPG|Furniture by [[Gio Ponti]] (1927)
File:Desk of Adminiistrator Michel Roux-Spitz 1930.jpg|Desk of an administrator, by [[Michel Roux-Spitz]] for the 1930 Salon of Decorative Artists
File:Fauteuil jazzclub.jpg|Art Deco club chair (1930s)
File:"La Maison Leleu" au Musée des Années 30 (Boulogne-Billancourt) (2132078468).jpg|Late Art Deco furniture and rug by [[Jules Leleu]] (1930s)
File:Waterfall buffet table.jpg|A [[Waterfall style]] buffet table
</gallery>

French furniture from 1910 until the early 1920s was largely an updating of French traditional furniture styles, and the art nouveau designs of [[Louis Majorelle]], [[Charles Plumet]] and other manufacturers. French furniture manufacturers felt threatened by the growing popularity of German manufacturers and styles, particularly the [[Biedermeier]] style, which was simple and clean-lined. The French designer Frantz Jourdain, the president of the Paris Salon d'Automne, invited designers from Munich to participate in the 1910 Salon. French designers saw the new German style and decided to meet the German challenge. The French designers decided to present new French styles in the Salon of 1912. The rules of the Salon indicated that only modern styles would be permitted. All of the major French furniture designers took part in Salon: Paul Follot, Paul Iribe, Maurice Dufrêne, André Groult, André Mare and Louis Suë took part, presenting new works that updated the traditional French styles of Louis XVI and [[Louis Philippe]] with more angular corners inspired by Cubism and brighter colours inspired by Fauvism and the Nabis.{{Sfn|Benton|Benton|Wood|2003|pages=91–93}}

The painter [[André Mare]] and furniture designer [[Louis Süe]] both participated the 1912 Salon. After the war the two men joined to form their own company, formally called the ''Compagnie des Arts Française'', but usually known simply as Suë and Mare. Unlike the prominent art nouveau designers like Louis Majorelle, who personally designed every piece, they assembled a team of skilled craftsmen and produced complete interior designs, including furniture, glassware, carpets, ceramics, wallpaper and lighting. Their work featured bright colors and furniture and fine woods, such as ebony encrusted with mother of pearl, abalone and silvered metal to create bouquets of flowers. They designed everything from the interiors of ocean liners to perfume bottles for the label of [[Jean Patou]].The firm prospered in the early 1920s, but the two men were better craftsmen than businessmen. The firm was sold in 1928, and both men left.{{Sfn|Arwas|1992|page=51}}

The most prominent furniture designer at the 1925 Decorative Arts Exposition was [[Émile-Jacques Ruhlmann]], from Alsace. He first exhibited his works at the 1913 Autumn Salon, then had his own pavilion, the "House of the Rich Collector", at the 1925 Exposition. He used only most rare and expensive materials, including [[ebony]], [[mahogany]], [[rosewood]], [[Ambon Island|ambon]] and other exotic woods, decorated with inlays of ivory, tortoise shell, mother of pearl, Little pompoms of silk decorated the handles of drawers of the cabinets.{{Sfn|Duncan|1988|page=15}} His furniture was based upon 18th-century models, but simplified and reshaped. In all of his work, the interior structure of the furniture was completely concealed. The framework usually of oak, was completely covered with an overlay of thin strips of wood, then covered by a second layer of strips of rare and expensive woods. This was then covered with a veneer and polished, so that the piece looked as if it had been cut out of a single block of wood. Contrast to the dark wood was provided by inlays of ivory, and ivory key plates and handles. According to Ruhlmann, armchairs had to be designed differently according to the functions of the rooms where they appeared; living room armchairs were designed to be welcoming, office chairs comfortable, and salon chairs voluptuous. Only a small number of pieces of each design of furniture was made, and the average price of one of his beds or cabinets was greater than the price of an average house.{{Sfn|Arwas|1992|page=56}}

[[Jules Leleu]] was a traditional furniture designer who moved smoothly into Art Deco in the 1920s; he designed the furniture for the dining room of the [[Élysée Palace]], and for the first-class cabins of the steamship ''Normandie''. his style was characterized by the use of ebony, Macassar wood, walnut, with decoration of plaques of ivory and mother of pearl. He introduced the style of lacquered Art Deco furniture in the late 1920s, and in the late 1930s introduced furniture made of metal with panels of smoked glass.{{Sfn|Duncan|1988|pages=18–19}} In Italy, the designer [[Gio Ponti]] was famous for his streamlined designs.

The costly and exotic furniture of Ruhlmann and other traditionalists infuriated modernists, including the architect Le Corbusier, causing him to write a famous series of articles denouncing the ''arts décoratif'' style. He attacked furniture made only for the rich and called upon designers to create furniture made with inexpensive materials and modern style, which ordinary people could afford. He designed his own chairs, created to be inexpensive and mass-produced.<ref>{{cite web |first=Alexandra |last=Griffith Winton |url=http://www.metmuseum.org/toah/hd/dsgn2/hd_dsgn2.htm |title=Design, 1925–50 |publisher=Metropolitan Museum of Art |series=Heilbrunn Timeline of Art History |date=October 2008}}</ref>

In the 1930s, furniture designs adapted to the form, with smoother surfaces and curved forms. The masters of the late style included Donald Deskey, who was one of the most influential designers; he created the interior of the Radio City Music Hall. He used a mixture of traditional and very modern materials, including aluminium, chrome, and bakelite, an early form of plastic.{{Sfn|Duncan|1988|page=36}} Other top designers of Art Deco furniture of the 1930s in the United States included [[Gilbert Rohde]], [[Warren McArthur]], and [[Kem Weber]].

The [[Waterfall style]] was popular in the 1930s and 1940s, the most prevalent Art Deco form of furniture at the time. Pieces were typically of plywood finished with blond veneer and with rounded edges, resembling a waterfall.<ref name="Cooper">{{cite journal|last=Cooper|first=Dan|title=Furniture of the Jazz Age|journal=Old-House Interiors|publisher=William J. O'Donnell|volume=7|number=6|page=42|url=https://books.google.com/books?id=4zAEAAAAMBAJ|date=November 2011}}</ref>