Early in life, Denis Doria had already collected the emblematic artworks of the Modern Movement and become one of the most important collectors, and a specialist of the Union of Modern Artists (UAM – 1929 to 1958). His expertise is primarily based on the meticulous reconstruction of historic collections
En 1987, he opened his gallery which he conceived as a place for sharing knowledge by displaying the items in his collection – furniture, lights and objets d’art – of the interbellum in an environment conducive to their understanding in the spirit of “period rooms”.
He then became a consultant for the assembly of important collections and has devoted part of his time to historical research and the preparation of publications.
Associated with the blending of art forms, the creators of the UAM freed themselves from the traditions of decorative arts. They expressed in their actions, everything that, even today, constitutes the basis of the functionalist trend in France, and pronounced and implemented the spirit of Modernity.
The Galerie Doria is devoting the year of 2023 to Pierre Chareau. Each quarter,new works by this artist will be added to this exhibition made up of emblematic works with a substantial provenance, such as: Doctor Jean Dalsace and his wife, Mrs Hélène Bernheim, Mr Edmond Fleg, Mr Marcel Kapferer, Mr Daniel Dreyfus, Villeflix, the Grand Hôtel de Tours, The Maison de Verre, etc.
A major creator of the 20th century, an attractive and complex personality, a lover of art in furniture, decorator, interior designer and master builder, Pierre Chareau loved to surround himself with creators from other disciplines, painters, sculptors, musicians, poets, novelists and also artisans. Thus, from the first years of his encounter with the skilled metalworker Louis Dalbet and fortified by the close cooperation that united them, the creator and the artisan developed the formal vocabulary for the work to come. Pierre Chareau invented; Louis Dalbet placed his knowhow in service to the creation. Based on the meticulous study and attentive examination of hitherto unpublished and unused documents, a substantial part of this publication is devoted to this collaboration. It seemed to us, nevertheless that there was further material to explore, diving once more into the archives of Louis Dalbet. Françoise Dalbet-Martin, Louis Dalbet’s granddaughter, allowed us to complete this project. Beyond the documented confirmation of the use of metal, both in the work of the creator of furniture and in the work of the architect, the analysis and publication of these documents opens a unique perspective on Pierre Chareau’s working method. In the work of Pierre Chareau, modernity does not vie with tradition; it is fully embedded in its era, in the changes of mindset, perception, and lifestyles imposed by the period. The character of the creator is inseparable from his life, the starting point for his work. Another part of this new publication is devoted to the life and work of Pierre Chareau during his American exile, from his arrival in New York in October 1940 until his death in East-Hampton on 24th August 1950.