Portfolio Naples February 2017 - Page 78

Thérèse Bonney (American, 1894-1978), Chareau in his Paris apartment at 54 Rue Nollet, c. 1927. On the wall behind him are works by Picasso and Lipchitz. Gelatin silver print, 8 3/8 x 6 ½” (21.3 x 16.5 cm). The Museum of Modern Art, New York. Architecture & Design Study Center Accession Number: ADD 1117 Image provided by The Museum of Modern Art / SCALA / Art Resource, New York Alcove for Lord & Taylor, New York, 1928, designed by Pierre Chareau. Smithsonian’s Na- tional Museum of American History. Image provided by the Smithsonian Institution. Opposite page, large photo: Living room in the Paris apartment of Hélène Bernheim, 1923, designed by Pierre Chareau. Image provided by Musée des Arts Décoratifs, Paris Opposite page, small photo: Pierre Chareau, Sketch for a dining room, 1924. From Jean Badovici, Intérieurs Français. Paris: Éditions Albert Morancé. 76 PORTFOLIO MAGAZINE film industry. The architect and his wife’s active patronage of the arts – and reuniting part of their collection of paintings, sculptures, and drawings by significant artists such as Mon- drian, Modigliani, Motherwell, Lipchitz, and Orloff – will be another important aspect of Pierre Chareau: Modern Architecture and De- sign at the Jewish Museum. Between the wars, Chareau designed pri- marily for a cultured urban elite, and many of his patrons were Jewish. With the German oc- cupation of Paris in 1940, his many Jewish clients were forced to depart. Chareau, whose wife Dollie Dyte Chareau was Jewish and whose mother came from a Sephardic family, fled to the United States. The exhibition will also explore the enduring consequences of Chareau’s flight from Nazi persecution, the dispersal of many of the works he designed during and after World War II, and his at- tempts to rebuild his career while in exile in New York during the 1940s. Pierre Chareau: Modern Architecture and Design, featuring furniture, lighting fixtures, tabletop objects, textiles, drawings, pochoir prints, ephemera, archival photography, and works of art from Chareau and his wife’s per- sonal collection, is organized into four main sections. The first section will be devoted to Chareau’s furniture designs, showcasing six groupings of furniture created by the artist for a variety of living spaces. The second section will look at Pierre and Dollie Chareau as art collectors featuring works of art once owned by them and sometimes used in the interiors designed by Pierre Chareau. The third section will feature recreations of four interiors designed by Chareau, and the fourth and last section will be devoted to his masterpiece, the Maison de Verre in Paris. Drawings, ephemeral material, and archival photographs will provide contextual background to Chareau’s activities in France and the United States. Pierre Chareau: Modern Architecture and Design is one of several major design exhibitions at the Jewish Museum this year, following Isaac Mizrahi: An Unruly History and Roberto Burle Marx: Brazilian Modernist. “Design exhibitions are central to the Jewish Museum’s program, reflecting the range of our collection as well as the diver- sity of art and Jewish culture,” said Claudia Gould, Helen Goldsmith