PIERRE CHAREAU (1883-1950)
Pierre Chareau was born in Bordeauxin 1883. He studied in the Ecole Nationale Supérieure des Beaux-Arts, then began his career in the English firm Waring and Gillow which was specialized in the production of Arts and Crafts furniture.
In 1919, he opened his own workshop located 54 rue Nollet in Paris. This place was already a true milestone. A clever system of picture rails offered the possibility to hang some frames, some shelves, a light system or a desk. This evolution of his style is particularly interesting.
His first pieces, a pair of armchairs, were designed in the Restoration style ; and then there was a kind of English influence. The Viennese inspiration, from Josef Hoffman to Aldolf Loos, was also very important.
A pioneer of the modern movement, Pierre Chareau rubbed shoulders with the avant-gardes and became friends with Paul Poiret, Max Jacob, Marcel l’Herbier, Hélène Henry, Mallet-Stevens.
Throughout his career, Pierre Chareau designed some furniture pieces and interior spaces in a homogenous and balanced spirit. His style is not ephemeral. He designed some unique pieces mixing precious wood and tubular steel or metal. His « engineer-builder » mindset encouraged him to adopt a very rational approach. He took part in the UAM (Union des Artistes Modernes) since 1930.
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Pierre Chareau is particularly well known for his most significant work: the Maison de Verre (1928-1931), commissioned by Dr Dalsace. His architectural approach to furniture design knew no bounds. Metal offered him endless possibilities. From 1923 onwards, he collaborated with the craftsman Dalbet, who produced pieces of exceptional craftsmanship. Soon, the small pieces of his early days, planters, fire screens and the like, evolved into more complex designs, such as light fittings combining alabaster and precious woods. From line to form, Pierre Chareau established a highly recognisable stylistic vocabulary, worthy of a renowned artist. His light fittings are true Cubist works of art.
Metal is one of his favourite materials. Unpolished, raw, hammered, hot-polished and then waxed, all these stages are only possible through craftsmanship and small-batch production. Marc Velley, author of the definitive work on the artist, comments on the use of this material as follows: ‘Even in his use of metal, an industrial material par excellence, he remains a creator of unique pieces, working with craftsmen rather than with factories.’ (in Pierre Chareau: Architecture and Furniture, 1993–1950, p. 147).
Having been in exile in the United States from 1940 onwards, Pierre Chareau created one final work in 1947 for the painter Robert Motherwell, before passing away in 1950.
Throughout his life, Pierre Chareau conceived sculptural pieces that formed part of coherent ensembles conceived as a whole. The development of his style cannot be separated from his great craftsmanship: as the inventor of metal joinery and a pioneer in the use of indirect lighting… Pierre Chareau demonstrated great modernity without ever lacking in poetry.
