{"id":41726,"date":"2025-11-29T15:12:34","date_gmt":"2025-11-29T14:12:34","guid":{"rendered":"https:\/\/chastel-marechal.com\/?page_id=41726"},"modified":"2026-09-25T12:26:51","modified_gmt":"2026-09-25T10:26:51","slug":"emilio-terry","status":"publish","type":"page","link":"https:\/\/chastel-marechal.com\/en\/emilio-terry\/","title":{"rendered":"Emilio Terry"},"content":{"rendered":"

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Emilio Terry (1890-1969)<\/h1>\n
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An architect, draughtsman, interior designer and landscape architect, Emilio Terry (1890-1969)<\/strong> was a unique figure in the world of the decorative arts between the two world wars. The scion of a prominent Cuban family, educated amongst the cosmopolitan and intellectual circles of Paris, Terry designed architecture and furniture loosely inspired by classical references<\/strong>, from Palladio to Claude-Nicolas Ledoux, whilst infusing them with a taste for poetic strangeness<\/strong>. In this way, he forged the concept of the \u2018Louis XVII style\u2019<\/strong>, an expression of an imaginary classicism, never truly historical, yet always evocative.<\/p>\n

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The influence of French heritage, and in particular the Ch\u00e2teau de Chenonceau, which belonged to his family, was also decisive. Terry was deeply impressed by Philibert Delorme<\/strong>\u2019s design, by the series of interconnected galleries, the majestic proportions and the neo-classical ornamentation. This place nurtured his taste for a French art style inspired by Italy<\/strong>, imbued with symmetry, refinement and scholarly references.<\/p>\n

Emilio Terry is self-taught<\/strong> in his artistic practice. The war prevented him from studying at art school, which kept him at a distance from the academic eclecticism of the time. He therefore immersed himself in the great Italian treatises on architecture by Palladio and Vignola.<\/strong> In this way, he developed a deeply personal philosophy<\/strong>, fuelled by an admiration for the visionary, utopian and grandiose architecture of the late 18th century.<\/p>\n

His designs span all areas of the decorative arts<\/strong>: furniture, objects, carpets, houses and gardens. Among his earliest notable works is the \u2018Monogramme\u2019 sideboard (1928)<\/strong>, made of cast aluminium, which already demonstrates his taste for powerful and symbolic forms. He also designed a \u2018rock-like\u2019 console table (1926)<\/strong> for the Ch\u00e2teau de Clavary, inspired by the holy water fonts in Pigalle at Saint-Sulpice, as well as a Restoration-style table inlaid with precious woods, which remained at the Ch\u00e2teau de Rochecotte for many years.<\/p>\n

In the 1930s<\/strong>, a period of upheaval, Terry pursued a unique path: he proposed an architectural style that drew inspiration from nature – rocks, shells, drapery<\/strong> – not as ornamentation, but as the very material from which the walls of a dwelling were constructed. For him, function arose from beauty<\/strong>: architecture must convey a \u2018truly human\u2019 message, blending poetry with formal rigour. But it was also during this decade that he began a pivotal collaboration with Jean-Michel Frank<\/strong>, the master of minimalist luxury. Through this fruitful collaboration, Emilio Terry worked alongside Alberto Giacometti, Christian B\u00e9rard and Paul Rodocanachi, and contributed to the design of iconic pieces of furniture, such as a neoclassical bench and a wooden console table, created for Frank\u2019s boutique, which opened in 1935.<\/p>\n

In 1933<\/strong>, his drawings were exhibited at the Jacques Bonjean gallery<\/strong>, a venue frequented by de Chirico and Dal\u00ed. In 1936<\/strong>, some of them were included in the famous exhibition \u2018Fantastic Art, Dada and Surrealism\u2019 at MoMA in New York<\/strong>, confirming his place within a visionary artistic movement, halfway between classical utopia and poetic surrealism.<\/p>\n

He also designed refined interiors<\/strong>, such as that of the Basque house Calaout\u00e7a for Princess Bibesco, in collaboration with Jean Hugo, a descendant of Victor Hugo. But he also conceived ideal architectural forms<\/strong>, such as his \u2018spiral house\u2019, a model of a double-helix dwelling that reflects a philosophy in which architecture is no longer merely a framework, but a dream that can be lived in.<\/p>\n

Rediscovered relatively late in life, Emilio Terry is now regarded as a cult figure in the world of dreamlike and erudite set design<\/strong>, at the crossroads of classicism, utopia and surrealism.<\/p>\n

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Works<\/p>\n

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\n \"Emilio\n \n \"Emilio\n <\/div>\n\n

Emilio Terry, Miroir<\/h3>\n <\/a>\n\n <\/div>\n [\/et_pb_code][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"

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