As of the end of the 18th century, art knows a major transformation: artistic creation extirpates rules and standards which framed it and leaves any freedom to the artist to express his single vision, its individuality through its works.
This great freedom does not go without constraints: if the artist can express himself freely, it is far from being sure that this expression which is clean for him will meet L ` adhesion of the public. Rare are the elected officials whose work is fully recognized and celebrated of their alive.
The sale of their works not being always easy matter to achieve, many artists turned to other ways to ensure their subsistence.
Interior decoration is one of these ways at the beginning of the Empire. The painters, who choose to also express themselves as decorators then think interior decoration like an peaceful intended to accommodate their customers and to embellish their daily life. They create a decoration, almost as with the theatre, and very often this decoration is used to put in scene the social life of the people who live there. That gives the opulent interiors created by Percier and Fontaine under the Empire or creations of André Mare and Louis Süe, in the Twenties.
Works of art have all their place in this interior decoration which integrates them and is built sometimes even around them to emphasize them. Although working as decorators, the artists continue to reason as painters, using the principles of the prospect and the pictorial composition, going even until painting, like Michel Dufet, of the tables intended to take seat in the decoration which they created.
Then with continuous progresses of the use of steel and glass in architecture, the dwellings change. The vacuum, the free air, the light, formerly ignored, become objects visible and worthy of interest. The way of thinking interior decoration then will know a revolution. The reflection around decoration relates henceforth in priority on volumes, the lights then to the colors, it is a reflection in three dimensions. It is a question of creating a space which is aesthetic in itself. Decoration is articulated around mobility, in the way in which one places oneself in space. The decorator is not any more one artist who scenography an environment, it is before a whole architect who structure a space.
Works of art which are expressed in two dimensions do not find any more their niche in this way of thinking and very little of these new decorators have spontaneously the idea to integrate tables in their decorations of interior.
On their side, the artists within the meaning of the Art schools do not create any more for the interiors, because their way of thinking is not adapted any more to the tastes of the public as regards decoration of interior. The complementary resources that brought the interior decoration to them being lacking from now on to them, they are diverted with contempt of this field of activity and the word “decoration” would make them be roughcast if one dared to associate it with their works.
One thus witnesses unfortunately a divorce between Art schools and interior decoration.
In parallel, the number of the visits in the museums increases, proof of a strong interest for works of art which are also a welcome breathing when one lives during one economic crisis period. The fairs of contemporary art become a place of relaxation and pleasure. But these same visitors who find such an amount of satisfaction to admire a work of art, do not sometimes even think of having one of them on their premises.
We live one period of transition, where the desire to contemplate a work of art develops in an exponential way, without the desire to have it not being still perceived like accessible. However, like the example of other countries shows it, the purchase and the possession of works of art can become a need as natural as the need as we test to read a book or to see a film. Remain to hope that this evolution occurs as fast as possible and that works of art, tables, sculptures, objects find very soon their right niche in the interiors.
Then with continuous progresses of the use of steel and glass in architecture, the dwellings change. The vacuum, the free air, the light, formerly ignored, become objects visible and worthy of interest. The way of thinking interior decoration then will know a revolution. The reflection around decoration relates henceforth in priority on volumes, the lights then to the colors, it is a reflection in three dimensions. It is a question of creating a space which is aesthetic in itself. Decoration is articulated around mobility, in the way in which one places oneself in space. The decorator is not any more one artist who scenography an environment, it is before a whole architect who structure a space.
Works of art which are expressed in two dimensions do not find any more their niche in this way of thinking and very little of these new decorators have spontaneously the idea to integrate tables in their decorations of interior.
On their side, the artists within the meaning of the Art schools do not create any more for the interiors, because their way of thinking is not adapted any more to the tastes of the public as regards decoration of interior. The complementary resources that brought the interior decoration to them being lacking from now on to them, they are diverted with contempt of this field of activity and the word “decoration” would make them be roughcast if one dared to associate it with their works.
One thus witnesses unfortunately a divorce between Art schools and interior decoration.
In parallel, the number of the visits in the museums increases, proof of a strong interest for works of art which are also a welcome breathing when one lives during one economic crisis period. The fairs of contemporary art become a place of relaxation and pleasure. But these same visitors who find such an amount of satisfaction to admire a work of art, do not sometimes even think of having one of them on their premises.
We live one period of transition, where the desire to contemplate a work of art develops in an exponential way, without the desire to have it not being still perceived like accessible. However, like the example of other countries shows it, the purchase and the possession of works of art can become a need as natural as the need as we test to read a book or to see a film. Remain to hope that this evolution occurs as fast as possible and that works of art, tables, sculptures, objects find very soon their right niche in the interiors.
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