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French Brutalist massive pine Tree chair, unique, 1950s Handmade, folk art
About the Item
Very unique handmade with massive pine. Unusual chair. The overall is patinated and shows various shades of brown/brownish colors. Elegant and brutalist describe that chair properly. Very strong eye catcher chair.
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Brutalist architecture is an architectural style that emerged during the 1950s in the United Kingdom, among the reconstruction projects of the post-war era. Brutalist buildings are characterised by minimalist constructions that showcase the bare building materials and structural elements over decorative design. The style commonly makes use of exposed, unpainted concrete or brick, angular geometric shapes and a predominantly monochrome colour palette; other materials, such as steel, timber, and glass, are also featured.
Descending from the modernist movement, brutalism is said to be a reaction against the nostalgia of architecture in the 1940s. Derived from the Swedish phrase nybrutalism, the term "new brutalism" was first used by British architects Alison and Peter Smithson for their pioneering approach to design. The style was further popularised in a 1955 essay by architectural critic Reyner Banham, who also associated the movement with the French phrases béton brut ("raw concrete") and art brut ("raw art"). The style, as developed by architects such as the Smithsons, Hungarian-born Erno Goldfinger, and the British firm Chamberlin, Powell & Bon, was partly foreshadowed by the modernist work of other architects such as French-Swiss Le Corbusier, Estonian-American Louis Kahn, German-American Mies van der Rohe, and Finnish Alvar Aalto.
In the United Kingdom, brutalism was featured in the design of utilitarian, low-cost social housing influenced by socialist principles and soon spread to other regions around the world. Brutalist designs became most commonly used in the design of institutional buildings, such as universities, libraries, courts, and city halls. The popularity of the movement began to decline in the late 1970s, with some associating the style with urban decay and totalitarianism.
Brutalism has been polarising historically; specific buildings, as well as the movement as a whole, have drawn a range of criticism (often being described as "cold" or "soulless") but have also elicited support from architects and local communities (with many brutalist buildings having become cultural icons, sometimes obtaining listed status). In recent decades, the movement has become a subject of renewed interest. In 2006, several Bostonian architects called for a rebranding of the style to "heroic architecture" to distance it from the negative connotations of the term "brutalism".
- Similar to:José Zanine Caldas (Artist)Pierre Chapo (Designer)
- Dimensions:Height: 33.08 in (84 cm)Width: 14.57 in (37 cm)Depth: 17.72 in (45 cm)Seat Height: 17.52 in (44.5 cm)
- Style:Brutalist (In the Style Of)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:1950's
- Condition:Wear consistent with age and use. Minor fading. patina.
- Seller Location:Forest, BE
- Reference Number:1stDibs: LU8186235463262
About the Seller
5.0
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- ShippingRetrieving quote...Shipping from: Forest, Belgium
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Pierre Chapo est né dans le 19e arrondissement de Paris, mais en 1937 la famille s'installe à Vierzon, dans le Cher, le jeune homme s'essaie à la peinture. Puis rencontre en 1947 un charpentier de marine; dans son atelier il découvre le travail du bois, et décide de s'inscrire à l'École nationale supérieure des beaux-arts, section architecture avec Henri Larrieu et Louis Aublet. Les études sont entrecoupées de voyages vers les pays scandinaves, du service militaire en Allemagne, ainsi que d'un périple d'un an en Amérique centrale et un stage dans un cabinet d'architectes en Arizona.
De retour en France, Pierre Chapo poursuit le travail du bois essentiellement le chêne, le frêne et l'orme massif qu'il articule avec le double intérêt qu'il porte au design contemporain et au savoir-faire de l'artisanat traditionnel. Après quelques années, il ouvre une galerie boulevard de l'Hôpital, où il expose ses réalisations ainsi que celles d'autres créateurs comme Isamu Noguchi avec lequel il partage une approche sculpturale et organique, il reçoit ses premières commandes parmi lesquelles un lit simple demandé par Samuel Beckett. En 1960, lors de l'exposition Arts et techniques de l'artisanat, son travail est reconnu par la ville de Paris dont il reçoit la Médaille d'or.
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