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The craftsman
Vol. XVIII, Number 6 (September 1910)

The "latest cry" in furniture for French women,   p. 702 PDF (435.8 KB)


Page 702


THE "LATEST CRY" IN FRENCH FURNITURE
THE       " LATEST        CRY" IN
FURNITURE FOR                FRENCH
WOMEN
"A      Little Salon for Women" was the
        title given to the group of furni-
        ture (designed by M. Follot and
        shown at the Bruxelles Exhibition
of Decorative Arts. Nothing more su-
1)renlely elegant has probably ever been put
+_ Lft .0 IF  11 fl 1ii  +T - rIIC L I _;+_
for the Salon of the French grande
damnc every final culture in decora-
tive art has been utilized. The tem-
perament of the woman of the very
beginning of this century of limit-
less luxury and indolence has been
studied by the creator of this "last
cry" in elaborate, costly art for the
home. All the extravagances of all
the centuries of art furniture in
France seem to have been gathered
up and the most perfect detail of
for Women he has tranquil design, colors
so exquisitely harmonized that they could
not fatigue the most delicate spirit, a fit-
ting background for the most subtle day
dreams, materials the most precious that
could be woven, the construction, the de-
tails so perfect that they would satisfy the
most supersensitive and cultivated woman.
  He purposes that each effort in his furni-
ture making shall be unique. He will not
eacn period cullede and comtineci in tins (te-   A PEARWOOD COUCH: FROM L'ART
DECORATIF.
sire to cater to the overrefined, oversensi- imitate himself or the work
of any other
tive, overemotional feminine product of the artist. He wishes perpetually
to create new
present day in France. It is in fact an epit-  imaginative beauty in his
furniture to cor-
ome of the life of the woman, of the society respond with the lives of the
beauties for
which breeds her. For in this search for   whom it is devised. A composite
of all that
sheer futile decorative beauty, vitality has France has ever imagined of
intricate and
been lost. There is the decorative idea, but  wonderful art is here combined.
  And the result, a salon in which
idleness, futility, weakness is so re-
vealed as inspiration that in spite
of beauty, good construction, subtle
appreciation of harmonies, there is
degeneracy, a lack even of that ex-
pression  of fearless  immorality
which inspired the periods of frank
luxury of the middle centuries in
France.   This is an etherealized
sensuality which is neither honest
nor fearless, formed for the soul of
the demi vierge, conscious or un-
conscious, for the woman possess-
ing more curiosity about life than
experience, to  whom    the great
fundamentals of life are a surprise,
THLAN1 FEARKVOOD FURNITURE INLAID WITH MOTHER-      a s oUC . r UILU    i
  -tnerestiig as
OF-PEARL, EBONY AND IVORY: FROM L'ART DtCORATIF.    a symbol, and deplorable
for the
not the purpose of art. There is every re-  same reason. The contrast between
this
finement, but no reality.                   "latest cry" in French
furniture and the
  In  fact, M. Follot has himself well      growing regard in America for
simplicity in
summed up this furniture of la vie moderne. furnishing is a matter of no
little import to
He first revolts nervously from  any uni-   the nation. For the greater the
simplicity
formity of style. It is but a form of slav- in the home the surer are we
as a people to
ery, he says. In the furniture in his Salon strike a genuine note.
702


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