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Primavera, Petitjean, Stylized Art Deco Guinea Fowl in Decorated Terracotta
About the Item
Primavera / Petitjean. Stylized Art Deco guinea fowl in decorated terracotta.
Seedling of white enamel in dots all over the body, except on the beak and tail treated in green and black smooth enamel.
Signed Primavera, fabrication: CAB (Céramique d’Art de Bordeaux), 1927.
Dimensions: height 20 x length 33 x width 21 cm.
Status: some restorations carried out according to traditional methods.
Documentation:
. Listed catalog Salon des Artistes Décorateurs (SAD) 29;
. Reproduced in Studio Yearbook, 1930 (idem, Petitjean award).
Same model with a different decor in Primavera 1912-1972 l'Atelier d'Art du Printemps, Alain-René Hardy and Gérard Tatin, p. 430.
PRIMAVERA L'ATELIER D'ART DU PRINTEMPS
In September 1912, the department store Le Printemps created a structure for the production of furniture and modern art objects, called Atelier Primavera.
This unprecedented initiative, taken by René Guilleré, founder of the Société des Artistes décorateurs and Pierre Laguionie, young manager of Le Printemps, who proposes to provide the Parisian store with a structure for the production of furniture and modern works of art, constitutes a crucial moment in the evolution of design in the 20th century.
The decoration and all its components, furniture, rugs, lighting, upholstery, table services, and above all, art glassware and ceramic trinkets, staged with pomp during the Decorative Arts Exhibition of 1925, thus making innovation and modernity in the field of decorative arts accessible to all through a powerful commercial tool.
The updating of forms under the influence of cubism will be implemented there by talented creators such as Claude Lévy and Madeleine Sougez, lovers of contemporary themes such as sports, jazz, the Ballets Russes and, thanks to the modernist spirit of Louis Sognot and the timely intervention of Jacques Viénot, founder of industrial aesthetics, the way could open towards the democratization of furniture consumption.
Very affected by the crisis of the 1930s and devastated by the war, Primavera will owe an unexpected rebirth to its director, Colette Gueden, who joined the Atelier in 1927 at the age of twenty-two, who, with courage, intelligence and flair will make it, during the 50s and 60s, thanks to its animations full of inventiveness and fantasy, one of the trendiest places in the capital, where one last time creation will succeed in asserting its primacy over commerce. .
Bibliography/ Primavera, l’Atelier d’Art du Printemps 1912-1972, Alain-René Hardy, Gerard Tatin, Faton / Vingtième Plus Edition, 2014
LES ARTISTE DE PRIMAVERA : PAULE PETIJEAN (1895-1989)
If I had to sum up the career of Paule Petijean in a few words, I would say that she was the only potter, the only ceramist strictly speaking of Primavera, in the 1920s. to have kneaded and modeled the earth, enamelled its shards itself before putting them in the oven to give them a final appearance.
Paule Petijean was the first to join the Atelier d'Art du Printemps in 1912, long before Madeleine Sougez, Claude Lévy and Sigismond Olesiewicz. Multi-talented artist – she created models of fabrics, rugs, cushions also edited for Primavera but her contribution was essentially ceramic. Blossoming in her workshop in Sainte-Radegonde, she began to create original objects, sometimes extremely surprising, "small subjects of around 25 x 20 cm, entirely modeled by hand, enamelled in a limited but coherent palette and clearly identifiable, where all the colors are often devoid of nuances*”. She also shaped subjects of her own, on familiar themes such as sport, circus, trades, field work, sometimes interpreted as candlesticks or salt shakers, rarely mythological.
Abandoning the white earth used in Sainte-Radegonde, she brought from Caudéran (CAB factory) an extremely ferruginous earth, turning to brick when fired, favored because of its excellent plasticity which made it particularly suitable for modelling.
Paule Petijean also fashioned cups and vases mounted on a coil and not turned. But it is his baskets of fruit and flowers, built in trompe-l'œil which constitute the most original contribution of his talent.
Very early noticed by critics and art lovers (Salon des Indépendants, 1922), recognized at the Decorative Arts exhibition of 1925, Petijean's work, presented in the windows of the Petites Foires du Printemps from 1926, will continue to of interest to attentive visitors such as Guillaume Janneau, a prolific historian of Decorative Arts who appreciates "his charming fantasy", Charles Oulmont, polygraph chronicler, following his career at the Sainte-Radegonde factory, the chronicler of the Journal des Métiers d'Art or Carlo Rim illustrating his essay on Modern Bibelot with around twenty photos, many of which were taken in Sainte-Radegonde, to name but a few.
Documentation:
. Les Lunettes de l'Amateur d'Art, Charles Oulmont, édition Grasset, 1927
Le Bibelot Moderne Carlo Rim ;
- Dimensions:Height: 7.88 in (20 cm)Width: 13 in (33 cm)Depth: 8.27 in (21 cm)
- Materials and Techniques:
- Period:
- Date of Manufacture:1927
- Condition:Repaired: Several enamel restorations have been carried out, according to professional methods. Minor structural damages.
- Seller Location:SAINT-OUEN-SUR-SEINE, FR
- Reference Number:1stDibs: LU7066231474242
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