Louis Sognot.
Editions du Regard| N° d'inventaire | 31182 |
| Format | 24.7 x 31.9 |
| Détails | 239 p., numerous color photographs, publisher's hardcover. |
| Publication | Paris, 2024 |
| Etat | Nine |
| ISBN | 9782841054336 |
The creativity of Louis Sognot (1892-1969) flourished over several periods in the history of furniture design. Initially steeped in traditional techniques through his training and his time at Krieger's in the Faubourg Saint-Antoine. As a young man, he participated in the astonishing adventure of the Printemps: Primavera art workshops founded by René Guilleré in 1912.
The creation of Louis Sognot (1892-1969) flourished over several periods in the history of furniture style. Initially imbued with traditional techniques through his training and his time at Krieger's in the Faubourg Saint-Antoine. As a young man, he participated in the astonishing adventure of the Printemps art workshops: Primavera, founded by René Guilleré in 1912. A prominent figure at the beginning of the 20th century, he founded the Society of Decorative Artists in 1901. Between 1920 and 1929, Louis Sognot collaborated at Primavera on Guilleré's projects, ensembles for modern interiors according to the principles laid down by Guilleré, for whom "Form determines the decor." They were noted at the SAD and the Salon d'Automne. This style heralded "Art Deco" for a more modest audience. Encouraged by Primavera, in 1926, he proposed metal furniture for the first time, thus getting closer to the leaders of the modern movement, René Herbst, Charlotte Perriand, Pierre Chareau. In 1929, he left Primavera to join the UAM (Union of Modern Artists). Associated for four years with Charlotte Alix, they distinguished themselves with remarkable achievements, for the Roussel laboratories or the Maharajah of Indore. From then on, he belonged to the avant-garde and actively participated in the movement by exploring new materials and he regained his independence. After the Second World War, he became passionate about rattan, a choice that placed him at the forefront of the scene. A technique that was at once economical, organic and rational. The Salon des Arts Ménagers was essential to showcase this new trend.
An excellent teacher, he taught in various schools (Boulle, Duperré, School of Decorative Arts). He collaborated with many rattan publishers, and with more traditional publishers including the company headed by Maurice Rinck, with whom he collaborated for ten years. His relationship with lighting designer Serge Mouille was ideal.
The creativity of Louis Sognot (1892-1969) flourished over several periods in the history of furniture design. Initially steeped in traditional techniques through his training and his time at Krieger's in the Faubourg Saint-Antoine. As a young man, he participated in the astonishing adventure of the Printemps: Primavera art workshops founded by René Guilleré in 1912.
The creation of Louis Sognot (1892-1969) flourished over several periods in the history of furniture style. Initially imbued with traditional techniques through his training and his time at Krieger's in the Faubourg Saint-Antoine. As a young man, he participated in the astonishing adventure of the Printemps art workshops: Primavera, founded by René Guilleré in 1912. A prominent figure at the beginning of the 20th century, he founded the Society of Decorative Artists in 1901. Between 1920 and 1929, Louis Sognot collaborated at Primavera on Guilleré's projects, ensembles for modern interiors according to the principles laid down by Guilleré, for whom "Form determines the decor." They were noted at the SAD and the Salon d'Automne. This style heralded "Art Deco" for a more modest audience. Encouraged by Primavera, in 1926, he proposed metal furniture for the first time, thus getting closer to the leaders of the modern movement, René Herbst, Charlotte Perriand, Pierre Chareau. In 1929, he left Primavera to join the UAM (Union of Modern Artists). Associated for four years with Charlotte Alix, they distinguished themselves with remarkable achievements, for the Roussel laboratories or the Maharajah of Indore. From then on, he belonged to the avant-garde and actively participated in the movement by exploring new materials and he regained his independence. After the Second World War, he became passionate about rattan, a choice that placed him at the forefront of the scene. A technique that was at once economical, organic and rational. The Salon des Arts Ménagers was essential to showcase this new trend.
An excellent teacher, he taught in various schools (Boulle, Duperré, School of Decorative Arts). He collaborated with many rattan publishers, and with more traditional publishers including the company headed by Maurice Rinck, with whom he collaborated for ten years. His relationship with lighting designer Serge Mouille was ideal.