"may have been referred to as ""Art Moderne"". Art Deco of the 20s and 30s Art Deco of the 20s and 30s is an art history book by English historian Bevis Hillier. It was initially published in 1968 by Studio Vista. The author discusses how the style of cubism, expressionism, Ancient Egyptian art, Mayan art, and so on influenced Art Deco, and how Art Deco itself changed the style of disciplines as various as modern architecture, jewelry, ceramics, tableware, metalwork, glass, textiles, and many others. According to historian Thomas Mellins, it was the publication of this book in 1968 that"
"of leadlighting. Many houses of the 1920s and 30s have Mock Tudor elements, including gables decorated with pseudo half-timbering and leadlight casement windows in diamond panes at the front of the house. This architectural style is commonly found in public houses of the time, and also in school buildings. With the ""bungalow"" style of architecture becoming increasingly popular, sash windows were also often made with leadlighting, often incorporating sections of glass very much larger than in traditional diapered windows. This trend continued until World War II, the style evolving from ""Art Nouveau"" to ""Art Deco"", which both employed a great"
"design for a British dressmaking firm had a silver-grey background and black mirrored-glass wall panels. Black and white was also a very popular color scheme during the 1920s and 1930s. Black and white checkerboard tiles, floors and wallpapers were very trendy at the time. As the style developed, bright vibrant colors became popular as well. Art Deco furnishings and lighting fixtures had a glossy, luxurious appearance with the use of inlaid wood and reflective finishes. The furniture pieces often had curved edges, geometric shapes, and clean lines. Art Deco lighting fixtures tended to make use of stacked geometric patterns. Modern"
"ivory, tinted leather, lacquered and painted wood, and decorative inlays on furniture that emphasized its geometry. This period of the style reached its high point in the 1925 Paris Exposition of Decorative Arts. In the late 1920s and the 1930s, the decorative style changed, inspired by new materials and technologies. It became sleeker and less ornamental. Furniture, like architecture, began to have rounded edges and to take on a polished, streamlined look, taken from the streamline modern style. New materials, such as chrome-plated steel, aluminum and bakelite, an early form of plastic, began to appear in furniture and decoration. Throughout"
"nineteen thirties. Some Federation Period dwellings included roughcast rendered gable faces and brick piers. Tulips were often incised in decorative timber fretwork, whilst elaborate floral leadlights were found on front and side elevations. Prior to listing the entire suburb for heritage conservation, many of the houses were modified and added to, with little or no consideration for either scale or style of the original architecture. Leadlight windows were designed in the Art Deco style, which is reflected in the many diverse geometric patterns, typical of the 1920s and 1930s. This manifested as a direct divergence from the floral designs of"
"in the 1920s. It remains a current and lively area of design work both inside and outside of southern California. It is a style meant to feel frivolously overdone and pleasantly, extravagantly unbalanced, yet sleek and modern, not unlike the Rococo style and in contrast to the strict, repetitive ornament of styles such as Baroque. Blocks of contrasting color, especially pink, turquoise (from dark near-blue to bright pale seafoam), yellow, and black-and-white checkerboard are highly favored, sometimes in orderly but asymmetric repetition or in different textures of soft furnishings in the same high-ceilinged, large-windowed room. Whole mirrors (not mosaics) cover"
"1920s and 1930s, and took its name from the International Exhibition of Modern Industrial and Decorative Arts in Paris in 1925. Art Deco became especially popular in the United States in the late 1920s, where the style was used for skyscrapers including the Chrysler Building (1930) and Empire State Building (1931), and for lavish motion picture palaces including Radio City Music Hall (1932) in New York City and the Paramount Theater in Oakland, California. In the 1930s a stripped-down variation called Streamline Moderne emerged, which was inspired by the curving aerodynamic forms of ocean liners, airplanes and trains. Art Deco"
"Hall as Hall & Dods. Dods has been acknowledged as """"one of the most significant early 20th century Australian architects"""" and as a rare practitioner of the Arts and Crafts style in Queensland. Arts and Crafts was an international design movement flourishing between 1860 and 1910, its influence continuing into the 1930s. It was led by artist and writer William Morris and architect Charles Voysey and was inspired by the writings of John Ruskin and Augustus Pugin. The style championed traditional craftsmanship using simple forms and often applied medieval, romantic or folk styles of decoration. Importantly, it valued local variations"
"contrasts between full and empty surfaces, and calm monochrome and vibrant polychrome details, on the generous use of floral ornamentation, and on the alternation of different materials. The general impression of luxury and monumentality of the interior is reinforced by an ensemble of decorative wall painting, one of the best preserved and most prestigious created in the early 20th century. It followed European trends of the time and was conceived as fully subordinate to architecture. This type of decorative painting is understandably devoid of the painter’s personal touch and probably follows a pattern of central-European origin. The painted decoration of"
"Revival Style, and the Anglo-Japanese style. Emphasis on the originality of the artist/craftsman led to the later design concepts of the 1930s Art Deco movement. Several developments in the American domestic architecture of the period are traceable not only to changes in taste and style but also to the shift from the upper- to middle-class patronage. The American Victorian typically took the form of a two-story square house with a hip roof disguised behind a variety of two-storied bays, with an assortment of gables as well as octagonal or round turrets and wraparound porches presenting a complex facade. Typically, the"
"pergola and lattice structures of the mid 1930s, though interesting and innovative, were not typical of either the overall landscaping concept of the House or of landscape design in New South Wales in that period. Although they reflected the taste and ideas of the American owner who redecorated the interior of the house in an art deco style, they were not a clear expression of that style with regard to landscape design. Rather, they gave the impression of an improvised Hollywood set. The post and rail fencing has mostly disappeared, but had historical and aesthetic significance as a clear example"
"1925 onwards, it was often inspired by a passion for new machines, such as airships, automobiles and ocean liners, and by 1930 this influence resulted in the style called streamline moderne. Art Deco was associated with both luxury and modernity; it combined very expensive materials and exquisite craftsmanship put into modernistic forms. Nothing was cheap about Art Deco: pieces of furniture included ivory and silver inlays, and pieces of Art Deco jewelry combined diamonds with platinum, jade, and other precious materials. The style was used to decorate the first-class salons of ocean liners, deluxe trains, and skyscrapers. It was used"
"the 1920s. ""Aesthetic clean lines were inspired by designs found in industrial machines. A key influence of this modernism was the influential Bauhaus movement, with its philosophy of form following function. Contrasting textures and colour were also in fashion. Examples of changing tastes in design were the use of diamonds being set against onyx or translucid citrines and amethysts juxtaposed against opaque coral and jade."" Even though, geometric shapes and cleaner shaped jewelry was now a trend, one of the key pieces was the long rope pearl necklace. The long rope pearl neckless was a signature faux piece that was"
"bands of casement windows, Roman brick in the fireplace and hearth, vertical wooden slats creating a screen to hide the stairway, built-in exterior planters, and an overall emphasis on horizontal lines throughout. In the 1930s the residence was remodeled, updating the kitchen and creating a master suite built over the garage. One of the original bedrooms was reduced in size and a closet eliminated to make way for a hallway leading to the new suite, which consisted of a dressing chamber, bathroom, and sleeping chamber. The addition incorporated the same casement windows of diamond-shaped leaded glass prevalent in the rest"
"style typical of the 1930s, which included some used Victorian furniture and a small number of Art Deco pieces. The existing beds were replaced by iron bedsteads (including twin beds for Michael and Lyn). When neighbours learned of the project, many donated period home furnishings for free. A 1930s-style gas-fired cooking stove, Belfast sink, draining board, metal-topped table, and fold-down work shelf were installed in the kitchen. The garden was revamped to be typical of a victory garden. The family had to act like a typical family of the time, which included the sewing of blackout curtains, building an air-raid"
"grew exponentially. Buildings needed roofs, floors, and sewer pipes. The ceramic industry grew as the demand increased. The ""Golden Era in tile making"" and art pottery, influenced by the Arts and Crafts movement, was around 1910. Architect Julia Morgan used tiles to adorn her buildings including the Hearst Castle in the 1920s. The most active period for the production of household ceramics including tableware, kitchenware, giftware, and art ware was from the 1930s through the 1960s. The major area of U.S. household ceramics production was in the Los Angeles basin. Around Los Angeles there were over 300 producers of figurines."
"a restrained classical 1930s style, drawing heavily on Hollywood film style of the 1930s and Syrie Maugham's ""all white room"" as influences. These renovations substantially altered most of the surviving Victorian features of the house—for example, the wallpaper in the entrance hall and corridors (originally embossed in gold) was over-painted in white, as were the marble columns around the main entrance. The ornate iron-framed ballroom built by Frederick Sargood (which was converted from an earlier conservatory) was demolished to make way for a lavish ""Hollywood style"" swimming pool and ballroom and of gardens were maintained. Mrs Jones also installed a"
"latest popular hits. By the early 1920s Mortier were the predominant brand closely followed by Gaudin of Paris - successors to Marenghi. Throughout the 1920s the sound-schemes of the instruments constantly evolved to keep up with the trends of jazz-age dance music. Facade styles also followed the fashions of the era moving progressing naturally from the art nouveau towards the art-deco of the 1920s and 1930s. In the 1930s the dominance of Mortier was matched by the instruments from the firm of Gebroeders Decap Antwerpen (Dutch for Decap Brothers Antwerp). By the end of the 1930s both Mortier and Decap"
"afforded the exposition, other architects began to also look to Spain where they found other interesting building traditions. Many of the California elements Baum studied influenced his designs for Sarasota buildings. In Florida, the Spanish Eclectic style was among the most dominant building styles during the 1920s continued to be built into the 1930s. It was adapted for a variety of building types ranging from grandiose tourist hotels to two room residences. It was so popular that many commercial and residential buildings were renovated in the 1920s to reflect the style. Identifying features of the style include flat (sometimes hip)"
"1930s. The Parkwood gardens have references to the great gardens of England and Europe, but with a 20th-century spirit. Much of the landscape design draws inspiration from the English Arts & Crafts gardening movement. This style called for a high degree of formality near the house, dissolving into less formal presentation with distance from the house, including a broad expanse of immaculate lawn. The perimeters included denser woodland borders and the use of cedar hedges to sub-divide the landscape into formal garden spaces, recreation areas, and farming space for the production of cut flowers, fruits, and vegetables. The hedges served"
"a decorative element to the interior. Carving was the preferred method of decorating furniture; while walnut was the primary furniture wood. Emphasis for furniture was on carved and turned members, which were elaborately placed on high-back armchairs and tables. Spatial relationships for the interior in the age of the Baroque changed from the block structure of the Renaissance to more open planning. Grand proportions were typical in Baroque interiors. The salone was given high priority, again with an emphasis on exaggerated decoration, this time incorporating accents into the room at different heights. Niches, entablatures, pediments and wall reliefs created dynamics"
"use it. It was heavily used in the 1920s and later on in the 1930s, when new construction intensified as the government tried to alleviate the effects of the Great Depression. With a few exceptions, elements of Colonial buildings were used without trying to emulate any specific building. Aspects of the Mineola post office that most strongly reflect this are its entrance enframements, pediments, roundels and windows. The 1930s also saw the emergence of the Art Deco and associated modernist styles. These made their mark on the Mineola post office in its flat roof, broad limestone decoration and the absence"
"an eclectic mix of the popular architectural styles of the time, notably the Queen Anne style (including the Shingle style), Georgian Revival, and the Mission Revival. In later years, simpler schools of design such as the Prairie style and Tudor Revival came to dominate. Development proceeded in fits and starts, punctuated by such events as the bankruptcy of the Cleveland Park Company in 1905 and the Great Depression in the 1930s. As a result, houses of very different sizes, natures, and styles can often be seen next to one another. In the later 20th century, Winthrop Faulkner and I. M."
"limited decoration. The landshövdingehus built around 1880–1890 attempted to imitate the more high-status stone houses. They used horizontal board panelling and rich profiling. Often they were decorated with bay or dormer windows, corner towers and/or rustication of the brick wall. During the art nouveau or jugend period of the 1920s, the colour of the houses changed to darker – often reddish brown – nuances. The façades were more elaborately detailed with balconies and portals. The functionalist period of the 1930s also influenced the style of the landshövdingehus. The façades were cleansed of decoration and the wooden panelling was nailed vertically."
"the 1920s and 1930s, designers including René Lalique and Cartier tried reduce the traditional dominance of diamonds by introducing more colorful gemstones, such as small emeralds, rubies and sapphires. They also placed greater emphasis on very elaborate and elegant settings, featuring less-expensive materials such as enamel, glass, horn and ivory. Diamonds themselves were cut in less traditional forms; the 1925 Exposition saw a large number of diamonds cut in the form of tiny rods or matchsticks. The settings for diamonds also changed; More and more often jewelers used platinum instead of gold, since it was strong and flexible, and could"
"The houses are single-family homes; most are of modest size, one or one-and-a-half stories covered with brick or stone veneer. Architectural styles include Bungalow, American Craftsman, Colonial Revival, and Tudor Revival. Sidewalks were run through the area in the 1930s by the Works Progress Administration, and the Gates Company planted maples along the streets, which are now matire. The Homecroft Historic District is a suburb typical of those built in the 1920s for middle-class families. The district has remained cohesive despite the later encroachment of commercial strips along Madison Avenue, and has maintained the feel of a small satellite town."
"in a commercial variant of the Italianate style, including a 1909 fountain, dedicated to ""one who loved animals."" The buildings in the district, which historically housed a variety of offices, wholesale and retail establishments, are now primarily restaurants, shops, offices, and apartments. It warehoused many of the city's goods, mostly tobacco. The district began declining in the 1920s, as other areas of the city rose in prominence with the advent of the automobile. Numerous structures would be demolished and cleared, including (in the 1950s), the Tobacco Exchange, which had been at the heart of the district. Up until they moved"
"function rather than ornamental complexities. He felt that ""simplicity in decoration is one of the essential qualities without which no true richness is possible"" and often worked in a limited colour palette, ""emphasizing outline, eliminating shading, and minimizing detail."" His furniture designs were simple and functional, and only sparingly decorated. He particularly advocated that wood should be left with its natural finish, contrary to the popular techniques which covered wood with paint and stain. He eschewed the complexities identified with late Victorian design. Many modest houses built in Britain in the 1920s and 1930s were inspired by Voysey's simple vernacular"
"20th century pub bars are relatively spartan in design and decoration. In most pubs the ceilings and upper walls were fairly plain, although some featured moulded Art Deco cornice and ceiling designs. The lower walls were typically tiled for ease of cleaning, and floors were usually paved with terrazzo and/or tiles. Compared to America and Europe, relatively few large Art Deco and International Style buildings were constructed in Australia in the 1930s and 1940s. Few of these have survived the recent waves of urban redevelopment and most of Australia's fine Art Deco cinemas, shops, restaurants and office buildings were torn"
"center of commerce and government, it started to grow in the mid-to-late-nineteenth century. Over 90% of the houses are frame construction, and the rest are brick. A large variety of popular late 19th- and early 20th-century architectural styles are represented in the district. They include: Greek Revival, Gothic Revival, Queen Anne, Second Empire, Italianate, Neoclassical, Tudor Revival, American Foursquare, Colonial Revival, American Craftsman and Bungalows. The houses were largely built before 1930, with a few built after World War II. Three churches are also included in the district: First Baptist (Neoclassical; 1915), Presbyterian Church of Vinton (Neoclassical; 1913), and Faith"
"were built in any other style during the 1920s. A range of other detailing influences, including Georgian Revival, Dutch Colonial Revival, Mission Revival, and Spanish Colonial Revival Styles became very popular in the first half of the 1900s. Resurgent interest in the American Arts & Crafts or American Craftsman movement and the emergence of special-interest publications such as ""American Bungalow"" magazine have contributed to the bungalow's recent popularity. Rising house prices nationwide through the late 1990s and early 2000s as well as the central and convenient location of many bungalow-heavy urban neighborhoods have further fueled demand for these houses; as"
"popular 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. Streamline was a variety of Art Deco which emerged during the mid-1930s. It was influenced by modern aerodynamic principles developed for aviation and ballistics to reduce aerodynamic drag at high velocities. The bullet shapes were applied by designers to cars, trains, ships, and even objects not intended to move, such as refrigerators, gas pumps, and buildings. One of the first production vehicles in this style was the Chrysler"
"the home, the majority Japanese people still lived in fairly traditional style dwellings well into the 1920s, partly due to economic situation in the early 1910s that meant western style was out of reach for the majority of people. It was also difficult to incorporate furniture into traditional dwellings due to their small size and intended flexible use of space, a flexibility made difficult to maintain when bulky furniture was involved; it was impractical, but aesthetically incongruent too. Some of the earliest influence on the west came in the form of Japanese art, which gained popularity in Europe in particular,"