{"id":1865,"date":"2022-12-04T12:05:33","date_gmt":"2022-12-04T11:05:33","guid":{"rendered":"https:\/\/galeriedoria.com\/galerie-2\/"},"modified":"2024-06-20T18:35:57","modified_gmt":"2024-06-20T16:35:57","slug":"galerie","status":"publish","type":"page","link":"https:\/\/galeriedoria.com\/en\/","title":{"rendered":"Galerie Doria"},"content":{"rendered":"

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Gallery<\/h1>\n

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THE GALLERY<\/strong><\/p>\n

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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<\/i> \u2013 1929 to 1958). His expertise is primarily based on the meticulous reconstruction of historic collections<\/span><\/p>\n

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En 1987, he opened his gallery which he conceived as a place for sharing knowledge by displaying the items in his collection \u2013 furniture, lights and objets d\u2019art<\/i> \u2013 of the interbellum in an environment conducive to their understanding in the spirit of \u201cperiod rooms\u201d.
\n<\/span>.<\/span>
\n<\/span>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.
\n<\/span>.<\/span><\/p>\n<\/div>\n

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Associated with the blending of art forms, the creators of the UAM<\/i> 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.<\/span><\/p>\n<\/div>\n

\u00a0<\/span><\/p>\n<\/div>\n<\/div>\n

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Exhibition<\/h1>\n

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THE UAM YEARS
\n1929-1958<\/h2>\n

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EXHIBITION
\n.<\/span>
\nFROM
\nTHURSDAY, 2nd JUNE 2024
\nTO SATURDAY, 14th DECEMBER 2024<\/h5>\n
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In<\/span> keeping with its commitment to highlighting the historical importance of the Union des Artistes <\/span>Modernes<\/span>, Galerie Doria presents a selection of major works from this movement.<\/span><\/p>\n

The formal renewal of furniture design born of the rejection of ornamentation and the superfluous, the priority given to the functional character of objects, the use of materials at the cutting edge of technology such as metal and glass, the application of the principles of architecture to the decorative arts are all expressed through the works of Jean Burkhalter, Pierre <\/span>Chareau<\/span>, Eileen Gray, Francis Jourdain, Robert <\/span>Lallemant<\/span>, Jacques Le <\/span>Chevallier<\/span>, Rob Mallet-Stevens, Jo\u00ebl and Jan Martel, and others.<\/span><\/p>\n

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Current exhibition<\/a><\/p>\n

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Past exhibitions<\/a>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=”50px”]Read more<\/a>[vc_empty_space height=”50px”][vc_separator css_animation=”none” type=”normal” color=”#0a0a0a” thickness=”2″][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” z_index=””][vc_column][vc_empty_space height=”100px”][vc_column_text]<\/p>\n

History<\/h3>\n

UAM
\nUnion des Artistes Modernes<\/h1>\n

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The French modernist movement united a group of creators from different fields, bound by a commonality of thought and principles, who decided to associate with each other after their departure in 1929 from the Salon des Artistes D\u00e9corateurs<\/em> (SAD)\u00a0where they were exhibiting up to that point.<\/a><\/p>\n<\/div>\n

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Publications<\/h1>\n

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Denis Doria<\/strong>
\nPIERRE CHAREAU
\nUN ARCHITECTE MODERNE DE PARIS \u00c0 NEW-YORK
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A major creator of the 20th<\/sup> 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. Fran\u00e7oise Dalbet-Martin, Louis Dalbet\u2019s 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\u2019s 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<\/sup> August 1950.<\/p>\n<\/div>\n

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Creators<\/h1>\n

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PIERRE CHAREAU<\/a><\/h4>\n

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JEAN BURKHALTER<\/a><\/h4>\n

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JACQUES LE CHEVALLIER<\/a><\/h4>\n

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Works<\/h1>\n

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