{"id":1609,"date":"2016-08-31T13:11:56","date_gmt":"2016-08-31T11:11:56","guid":{"rendered":"https:\/\/chastel-marechal.com\/en\/?page_id=1609"},"modified":"2024-04-19T16:28:41","modified_gmt":"2024-04-19T14:28:41","slug":"alexandre-noll","status":"publish","type":"page","link":"https:\/\/chastel-marechal.com\/en\/alexandre-noll\/","title":{"rendered":"Alexandre Noll"},"content":{"rendered":"

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Alexandre Noll (1890-1970)<\/h1>\n

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Born to Alsatian parents,\u00a0Alexandre Noll\u00a0<\/strong>only really turned towards art in the 1920s. During the First World War, however, he made numerous watercolour<\/strong> sketches<\/strong> and more importantly, perhaps, a large number of wood<\/strong> engravings<\/strong>. At the end of the war he decided to develop this technique, which was gradually taken over by sculpture<\/strong>. This began with the creation of parasol handles and evolved into lampstands commissioned by the fashion designer Paul Poiret.<\/strong><\/p>\n

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In 1925\u00a0Noll<\/strong>\u00a0exhibited a series of sculpted objects at the Exposition Internationale des Arts D\u00e9coratifs<\/strong> et Industriels Modernes<\/strong> and in 1927 he began to exhibit at the Cr\u00e9maill\u00e8re<\/strong>, a gallery devoted to discovering new talent.<\/p>\n

It was only, however, in 1935<\/strong> that\u00a0Alexandre Noll<\/strong>\u00a0began to create his \u2018furniture<\/strong> sculptures<\/strong>\u2019 that were usually carved into blocks of one specific wood, primarily sycamore<\/strong>, mahogany<\/strong>, teak<\/strong>, or (and in fact most often) ebony<\/strong>. He participated in the 1937 Exposition Internationale des Arts et Techniques in a discrete way, but it was only at the Salon des Artistes D\u00e9corateurs in 1939 and at the VIIth Triannale in Milan in 1940 that he exhibited a few small wooden sculptures. It was during the Second World War that\u00a0Noll\u00a0began to develop his ideas concerning furniture design and sculpture, and this was when he really started to forge his own style. After the war, in the context of increasing mass-production, he began to produce pieces of wooden furniture that were pure, authentic and, what is more, unique. It was at this point, in the 1950s, that\u00a0Noll<\/strong>\u00a0chose to turn definitively towards sculpture<\/strong>. This was, perhaps, a natural<\/strong> evolution<\/strong>.<\/p>\n

Noll<\/strong>\u00a0then participated in numerous exhibitions in France, including \u2018De la Sculpture de Rodin \u00e0 nos jours\u2019 and \u2018Aux Arts de la table\u2019 at the Pavillion de Marsan (he was notably involved in Jacques Adnet<\/strong>\u2019s stand), and in others abroad, in Munich, Madrid, Vienna, London, Var\u00e8se etc.
\nAlexandre Noll<\/strong>\u00a0did not just work with wood; his approach and technique were both intimately bound up with nature and purity of form in a way that was simultaneously poetic, intuitive and philosophical.<\/p>\n

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Works<\/p>\n

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Alexandre Noll (1890-1970) Born to Alsatian parents,\u00a0Alexandre Noll\u00a0only really turned towards art in the 1920s. During the First World War, however, he made numerous watercolour sketches and more importantly, perhaps, a large number of wood engravings. At the end of the war he decided to develop this technique, which was gradually taken over by sculpture. 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