AUDAC was a dramatic gesture at a crucial time in the development of the decorative arts in America. Many art historians have suggested that until 192 there was essentially no true form known as American design and that craftspeople in the United States from the 16th to the 19th centuries interpreted European prototype& Granted, the handmade copies of lath-century English furniture mode in Boston, Connecticut, New York, and Philadelphia were aesthetically of a high order.
Some of the earliest examples of "true' American design appeared offer the Civil War. Americans were exposed to the new design trends from Europe - the most Influential of which may hove been japonisme the roots of Art Nouveau
American design began to show itself as having unique traits particularly from the lost quarter of the 19th century. George Hunzinger as emigre-craftsman, Louis Comfort Tiffany as native artist-designer, Frank Furness as designer-architect, and the Herter Brothers as manufacturer are prime examples of producers with an
American aesthetic. - From Vienna, Austria, architect-designer Joseph Urban, furniture-designer Pour
Frankl, designers Wolfgang and Polo Hoffmann, and architect Frederick Kiesler.
- From Paris, France, decorative artist Paul lribe and industrial designer Raymond Loewy.
- From New Zealand, industrial designer Joseph Sinel
Walter von Nessen and Peter Muller-Munk and film set designers Hans Drier and
Iribe become one of the first film art directors in America to offer the more baroque, if not bizarre, aspects of the Art Deco style in France,
Those native Americans who attended 1925 French far included Donald Deskey, Kern Weber, Eugene Schoen, and Hollywood set-designer Cedric Gibbons, In the 192O, Ruth who become known for her fabric and carpet designs for Radio City Music Hall in New York City, was an art student in Paris. Few other American designers attended the event or were living in Paris at the time, although the city was packed with American literati. Soon after the fair, numerous American designers and soon-to-be AUDAC members traveled to Europe-Walter Dorwin Teague in 1926, Gilbert Rohde n 1927, Raymond Hood, and Ely Jacques Kahn-and the exposure is manifested in their subsequent work. Viennese architect Kiesler was the director of the Paris exposition's Austrian pavilion, designing its theater and architecture section.
The influence of the French decorative arts at the exhibition was appreciable. Having lived in the U.S. for 14 years by 1928, hit commitment to ,American design was widely known.
In the best tradition of European designers, AUDAC members were active in oil areas of design. in this book, Modern American Design, we find individual designers who were active in most of the minor-arts media interiors, lighting, textiles, industrial design, and graphics, For example, by 1929 Gilbert Rohde had become art active designer of furniture, textiles, lighting, Industrial products and interiors.
Unlike American design and American organizations, European design often had a political agenda, whether or not overly expressed The UAM (Union des Artistes Modernes), which, was formed in Paris a year after AUDAC began, had members in the decorative arts, fine ants, and architecture-the full spectrum of art mineur and art majeur. French artist Amedes Ozenfont and Swiss architect Le Corbusier pointed out, "There is a hierarchy in the arts... decorative art is at the bottom." Nouveau pavilion A plethora of the new French Art Deco style furnishings and interiors filled pavilion at the fair.
Neither the Bciuhcius nor Art Deco
The apartment in the Hotel Delmonico's & 502 Park Avenue n New York designed by AUDAC's president Lee Simonson was more charming than many of the