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The history of Scandinavian design: the emergence of a style - Part 1

Scandinavian design has been all the rage in France for the last ten years or so, and yet the interest in Scandinavian design dates back ...

Design MarketFebruary 2020
design-scandinave-Saarinen
Saarinen-House-table
design-scandinave-Alvar-Aalto-Armchair-Paimio-1932
design-scandinave-Alvar-Aalto-Chair-401-1933
design-scandinave-vase-Kantarelli
design-scandinave-timo-sarpaneva-claritas-glass-model-3575
design-scandinave-Antti-Nurmesniemi
design-scandinave-Siege-domus
design-scandinave-Gustaviansk-stil-Bukowskis
design-scandinave-Gunnar-Wennerberg-ca-1900
design-scandinave-Carl-larsson
Over the last ten years or so, France has seen a surge in interest in Scandinavian design, and yet the interest in Scandinavian design dates back a long way. As early as the inter-war years, the French were interested in design from the Nordic countries, which they discovered at the Universal Exhibitions in Paris in 1900 and 1925. But it was only after the Second World War that Scandinavian design, and Danish furniture in particular, became increasingly popular. The 40s to 70s saw the birth of the great names in Scandinavian design that we still admire today: Kaare Klint Kaare Klint , Alvar Aalto, Bruno Mathsson, Arne Jacobsen Arne Jacobsen , Poul Henningsen, Finn Juhl, Hans J. Wegner, Börge Mogensen Grete Jalk Grete Jalk Grete Jalk , Nanna Ditzel, Poul Kjaerholm, Verner Panton, to name but a few of the best known. Today, their creations are part of the world's design heritage, and are sought after by design enthusiasts not only in France, but all over the world. So to help you better understand the particularities of this design, its creations, the evolution of its style, the materials used and the designers and manufacturers, both well-known and lesser-known, we are going to present a series of articles over the coming months, enabling you to identify this design more easily. In our first article, we'll look at the emergence of Scandinavian design, which began even before the Second World War, as well as the particularities of the 3 great Scandinavian countries, Finland, Sweden and Denmark, in the field of design. Indeed, the emergence of Scandinavian design and especially Scandinavian furniture began even before the Second World War, continuing its rise during the 50s and 60s. As we shall see, all European countries were to be affected by this exceptional upsurge. While the United States, England and Germany were among the leading export markets for Scandinavian furniture manufacturers during the 30 glorious years, France was not to be outdone. Since the end of the Second World War, France has been fascinated by Scandinavian countries, their lifestyles, school systems, architecture and design. While Sweden was initially the focus of attention, as was Finland, notably with the creations of Finland's Alvar Aalto and Sweden's Bruno Mathsson Bruno Mathsson, it was Denmark that quickly established itself as the great design nation. But let's take a look at the Scandinavian countries to better understand the emergence of design in these Nordic countries. Finland Finland is the most northerly country in Scandinavia, a strange country covered in vast expanses of pine and fir forests. In this country, where the winters are extremely harsh, the people remain very close to nature, a special relationship that is reflected in Finnish design. This is reflected in a great respect for materials and a pronounced taste for natural forms. Having struggled for centuries against an extremely hostile environment and fended off numerous invaders, the Finnish people have gradually built up an incredible strength and determination to overcome the insurmountable. In contrast to this rather introverted temperament, creativity has been a vehicle for great expressivity. The long struggle against the invaders resulted in a strong attachment to tradition, and the affirmation of their cultural, economic and political identity. One of the great sources of inspiration for many artists was the famous poem Kalevala, composed by Elias Lönnrot (1802-1884) in 1835 and based on Finnish mythology. During the second half of the 19th century, this poem was the unique cultural source of art and design in Finland. It was from this poem that Finnish National Romanticism developed, embodied in particular by Eliel Saarinen (1873-1950), the architect of the Finnish pavilion at the 1900 Exposition Universelle in Paris, and who later became president of the Cranbrook Academy of Art in the United States. This academy trained all the new American avant-garde designers, including Charles and Ray Eames (1912-1988). At Cranbrook, Eliel Saarinen promoted the humanist principles of Scandinavian design. His son, Eero (1910-1961), would go on to become one of the great figures of post-war design. [caption id="attachment5818" align="aligncenter" width="452"] Eliel Saarinen, Cranbrook Arm and side Chairs, ca. 1929 Eliel Saarinen, Cranbrook Arm and side Chairs, ca. 1929[/caption] [caption id="attachment5819" align="aligncenter" width="428"] Eliel Saarinen, House Round Table and Chairs, ca. 1929-1930 Eliel Saarinen, House Round Table and Chairs, ca. 1929-1930[/caption] The National Romanticism advocated by Saarinen was part of the European Art Nouveau movement, and would later become one of the hallmarks of Finnish design: an ability to integrate both the national and the international in his creations. In particular, Saarinen created a series of wooden furniture in which the national and rustic tradition is perfectly perceptible. Similarly, the link with rural culture remains very strong, using mainly native woods such as birch, maple and oak, but also imported mahogany in his early designs. It is part of an aesthetic that can be linked to English Arts and Crafts. During the First World War, Finnish design was still influenced by Art Nouveau, but it wasn't until the inter-war years, with the creations of architect Alvar Aalto (1898-1976), that a new creative style emerged. [caption id="attachment5820" align="aligncenter" width="456"] Alvar Aalto, Paimio armchair, 1932. Still published today by Artek. Alvar Aalto, Paimio armchair, 1932. Still published by Artek. [caption] [caption id="attachment5821" align="aligncenter" width="381"] Alvar Aalto, 401 Armchair, 1933. Still published by Artek. Alvar Aalto, Armchair 401, 1933. Still published by Artek. [After the Second World War, Finland, forced to pay war indemnities to Russia, had to regain its national confidence. The 1950s saw the emergence of a number of great Finnish designers who helped Finland to achieve international status. Designers such as Tapio Wirkkala (1915-1985), Timo Sarpaneva (1926), Vuokko (1927), Antti Nurmesniemi (1927), Ilmari Tapiovaara (1914-1999) and Maija Isola (1927-2001) raised Finnish design to an aesthetic level never before achieved, and at the same time met with great success at various exhibitions around the world, including the famous Milan Triennials. [caption id="attachment5823" align="aligncenter" width="726"] Wirkkala, Kantarelli Vase, 1946. For the Milan Triennale in 1951 - 100 pieces produced in two series of 50 and 50 (only 25 pieces belonging to the second series) Wirkkala, Kantarelli Vase, 1946. For the Milan Triennale in 1951 - 100 pieces made in two series of 50 and 50 (only 25 pieces from the second series)[/caption] [caption id="attachment5824" align="aligncenter" width="403"] Timo Sarpaneva, "Claritas" and "Tear" models Timo Sarpaneva, Claritas" and "Tear" models[/caption] [caption id="attachment5825*" align="aligncenter" width="350"] Antti Nurmesniemi, Antti Nurmesniemi stool, Stool[/caption] [caption id="attachment5826*" align="aligncenter" width="400"] Ilmari Tapiovaara, "Domus" chair Ilmari Tapiovaara, "Domus" chair[/caption] Sweden Sweden is the largest of the five Scandinavian countries. It is also a country of contrasts, dotted with lakes, forests, waterfalls, agricultural plains and numerous small islands. Since the Second World War, it has remained neutral in the face of conflict. And like most of its Scandinavian neighbours, it has managed to transform a relatively poor economy based on agriculture into an industrialised nation with a highly advanced social production system that is much admired by the international community. The state religion is Lutheranism, a religion that emphasises personal morality and the idea of "living faith". A worldview that will steer design towards purity, functionality and social harmony. With humanism permeating every aspect of Swedish life, Swedish design is marked by a belief in a moral duty to produce solutions that meet real social needs. In the 20th century, Sweden, at the cost of the highest tax burden in the world, built up a universal welfare system that is often seen as the most generous in the world, providing a wide range of free (i.e. tax-funded) services including school education, childcare, health services, pensions, care for the elderly, social services and other social schemes. The welfare state, or "folkhemmet" as the Swedes call it (literally the home of all the people), has been a social project followed with keen interest by political scientists and politicians the world over. Other countries have drawn inspiration from it in many ways. The Swedish experience is known by many names: "the middle way", "cradle-to-grave care" and, of course, the "Swedish model" are just some of them. Swedish decorative arts also have a long tradition. As far back as the 18th century, King Gustav III (reigned 1771-1792) established a neo-classicism that was very much inspired by the French model, even if it remained lighter, with influences from Rococo or the Louis XV style, with interiors painted in pastel shades, pale-coloured pine furniture and bare wooden planks. Now known as the Gustavian style, its more romantic version has been enjoying a resurgence in France and Scandinavia in recent years. [caption id="attachment5827" align="aligncenter" width="411"] A pair of Gustavian-style armchairs dating from the late 18th century. Pair of Gustavian style armchairs dating from the late 18th century. [Between 1830 and 1840, Sweden was influenced by the German Biedermeier style, which suited the Swedish spirit of simplicity and modesty. In the mid-19th century, there was a "revival" movement characterised by a mixture of historical influences ranging from Gothic to Baroque and even Rococo. Fin-de-siècle artists such as the ceramist, glassmaker and designer Gunnar Wennerberg (1863-1914) introduced an Art Nouveau style inspired by nature, in a more simplified version than that of the French movement. [caption id="attachment5828" align="aligncenter" width="414"] Vase by Gunnar Wennerberg, circa 1900 Vase by Gunnar Wennerberg, circa 1900[/caption] In response to this eclecticism, the Svenska Slöjdföreningen (Swedish Society of Arts and Industrial Design), the world's first designers' association, was formed in 1845. The idea behind Svenska Slöjdföreningen was to improve handcrafted products through the cooperation of artistic forces, to advance domestic culture and to raise the general level of taste. Svenska Slöjdföreningen is driven by the idea that design should be used as a catalyst for social change. At the end of the 19th century, under the influence of English Arts and Crafts, Sweden briefly turned more towards its cultural roots, and in particular towards rural life. With this in mind, Carl (1853-1919) and Karin Larsson (1859-1928) furnished and decorated their small house in Sundborn in a simple, unpretentious style, a blend of peasant culture and the idyllic vision of a classic country house. The Larssons' creations can be seen as reflecting a rejection of the industrial society that was slowly beginning to take hold in Sweden. The Larssons' interiors were widely publicised through the series of watercolours that Carl Larsson painted of their house, reproduced in the album "Ett Hem" (1899). In Paris we were able to admire his illustrations at the Petit Palais in 2014. [caption id="attachment_5829" align="aligncenter" width="790"] Watercolours by Carl Larsson showing the interior of his house in Sweden. Watercolours by Carl Larsson showing the interior of his house in Sweden. [These images by Carl Larsson were to inspire the Swedish feminist writer Ellen Key (1849-1926) to write her pamphlet "Skönhet aat alla" (Beauty for All, 1899). Key's idea was that by raising consumer taste and developing their aesthetic perception, design standards could be changed, reflecting a profound social transformation. In her view, a beautiful environment contributes to well-being. Key's ideas would be translated into many of the inexpensive Swedish products made in the early 20th century. In 1915, Svenska Slöjdföreningen set up an agency to facilitate contacts between designers and manufacturers in order to improve the quality of Swedish design and encourage the creation of simple, good-quality and, above all, inexpensive objects. However, these objects met with very little success, as they were derived from industrial art and did not reach the expected clientele, namely the working class. Although the cost of these objects may have been prohibitive, it was rather the connotation of these "simple", inferior domestic objects that heavily affected sales. It was not until after the First World War that the idea of simplicity as a principle of beauty began to take hold, largely as a result of European events. In a later article, we'll look at how modernism was introduced into Swedish design and the beginnings of Danish design... Find out more about Scandinavian design Find out more about Scandinavian design Written by Rikke JACOBSEN Doctor in Art History - Design, graduate of the Sorbonne Paris IV Thesis on the subject of "Wooden furniture after the Second World War".

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