Editing Art Deco (section)

===Cubism===
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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>