485:, and was certainly considered one of the group's leaders. For the most part, he and the other members worked to promote the work of Lorraine decorative artists through their advocacy of the establishment of a school for industrial arts, their participation at major exhibitions (as well as organizing their own shows), and through their collaborative efforts on individual art pieces and buildings, almost all of which were in the Art Nouveau style, and which helped produce to some extent a unity among the art and architecture produced by Lorrainers. Majorelle was consistently one of the internationally renowned figures of the group who could always be found at any show at which the group exhibited. His connections with the Parisian art circles also helped assure the renown of Lorraine artists in the French capital. The
598:. After his death, his family, whose fortunes had been damaged severely by the war, could no longer afford to live in the Villa Majorelle, and the house and much of the outlying property were sold off in parcels. Majorelle's factories closed in 1931. Eventually, the villa went through several architectural modifications (aside from those Majorelle himself made while he resided there), including the addition of a concrete bunker near the rear and the enclosure of the front terrasse. The large stone fence and gate that surrounded the property were eventually reduced to a small piece around the house, which itself went through various uses and owners over the next century. Today, the Villa has been acquired by the city of Nancy, which is undertaking a long-term project of renovation and restoration.
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395:(1846 – 1904) inspired him to take his production in new directions. Beginning in the 1890s, Majorelle's furniture, embellished with inlays, took their inspiration from nature: stems of plants, waterlily leaves, tendrils, dragonflies. Before 1900 he added a metalworking atelier to the workshops, to produce drawerpulls and mounts in keeping with the fluid lines of his woodwork. His studio also was responsible for the ironwork of balconies, staircase railings, and exterior details on many buildings in Nancy at the turn of the twentieth century. Some of his original woodwork designs can still be found in
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fresh supply of lumber, unfinished furniture, and sawdust, burned virtually all the firm's sketches, awards, molds, equipment, and archives that documented the fifty-year history of the enterprise. As if to add insult to injury, a year later, in 1917 German aircraft bombing of Nancy destroyed the
Majorelle shop on the rue Saint-Georges. The Majorelle family reported that their shop in Lille had been looted by advancing German troops.
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525:, in Nancy. Majorelle, like many industrialists in Nancy, located his house across the street from his factory, but in a relatively new area of town; the large parcel of land which it occupied made it seem like a veritable country estate. His house and factory were located on land that was given to him by his mother-in-law, Madame Kretz.
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In 1914, with the outbreak of war, Majorelle hoped to hold out and continue production in Nancy. Unfortunately, in an event apparently unrelated to the war, his factories on the rue du Vieil-Aître suddenly caught fire on the morning of 20 November 1916. The conflagration, no doubt spurred on by the
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Majorelle relocated to Paris for the remainder of the war, where he worked in the workshops of fellow furniture designers. After the war, he reopened the factory and his shop, and continued to collaborate with the Daum glassworks and produce furniture, though these late designs show the stiffened
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The palette he composed with wood from France and abroad, resembles that of a painter. Oak, walnut, ash, elm, holly, plane, chestnut, cherry, pear and beech provide the soft tones and the enveloping range of grays; they serve
Majorelle in calm and deliberately monochrome compositions. Rosewood
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Sauvage and
Weissenburger's three-story design for the villa represents the true flowering of Art Nouveau architecture in Nancy, with multiple bow windows and floral motifs covering the exterior. Majorelle himself produced the ironwork, furniture, and the interior woodwork, such as the grand
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who decided to work in a collaborative fashion, and predominantly in the Art
Nouveau style. They, headed by Gallé (until his death in 1904, and thereafter by Victor Prouvé) did this for several reasons, chief among which was to ensure a high standard of quality of work in the
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staircase. Majorelle located his own personal studio on the third floor under a gabled roof, and included a huge arched window combled together with spandrels that evoke the branches of a tree or flower. Most of the floral motifs seen in the house use the forms of the
309:'s favorite artists. During the early 18th century, Cressent replaced the magnificence of ebony and tortoiseshell associated with tin and copper by the softer harmonies of foreign woods. Like him, Louis Majorelle dressed the elegant structure of
321:, the orange clairembourg, the black or green ebony, the red or black palm, etc., constituted for him, among the foreign essences, the most extensive colored swell, where his painter instincts could flourish.
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Louis
Majorelle is one of those who contributed the most to the transformation of furniture. Thanks to posterity, we recognize today a piece of furniture from him as we recognize a piece of furniture from
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Majorelle died in Nancy in 1926 in his beautiful property on rue du Vieil-Aître, leaving to his brothers Jules and Pierre, the management of the store on rue Saint-Georges in Nancy and the sawmill of
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provides the delicate colors and patterns of the flower. The tender yellow lemon tree, the silver maple, the purple amaranth, dear to
Cressent, the jacaranda wood, the red satin, the
337:(1825 – 1879), who himself was a furniture designer and manufacturer, moved the family from Toul to Nancy. There, Louis finished his initial studies before moving to
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On 7 April 1885, Majorelle married Marie LĂ©onie Jane Kretz (06/12/1864 – 31/12/1912), daughter of the director of the municipal theaters in Nancy. Their only child,
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for the house, and on the interior, the artisans created impressive painted friezes in the dining room, which contains a large ceramic Art
Nouveau fireplace designed by
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383:(1860 – 1929) and located at 6, rue du Vieil-AĂ®tre in the western part of Nancy. In the 1880s Majorelle turned out pastiches of
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517:(1873 – 1932), a young Parisian architect, to collaborate with Weissenburger on the building of his own house, known as the
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for the 1st three
American soldiers killed in action in World War I. This is a model of the actual monument in
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for its water lily motifs, designed and manufactured by Louis
Majorelle around 1902-3, on display at the
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decorator and furniture designer who manufactured his own designs, in the French tradition of the
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521:(after the acronym of Majorelle's wife's maiden name), but now popularly known as simply the
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Louis
Majorelle biography, signatures, auction results, ... - Art Deco Ceramic Glass Light
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glassworks of Nancy, he helped make the city one of the European centers of
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style, and after 1901 formally served as one of the vice-presidents of the
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of the group from the outset, remained so throughout the existence of the
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In February 1901, Majorelle became one of the founding members of the
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and furniture. This would occupy him for the rest of his life.
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in Nancy, but the influence of the glass- and furniture-maker
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desk designed and manufactured by Louis Majorelle in 1902-3 (
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824:(25th anniversary ed.). Köln: Taschen. p. 441.
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French furniture maker, decorator, and artist-craftsman
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and amourette desk with gilt-bronze mounts from the
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furniture styles, which he exhibited in 1894 at the
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The Majorelle firm's factory was designed by famous
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51:. Unsourced material may be challenged and removed.
617:, is featured prominently in the 2008 French Film
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666:Bedroom furniture designed specifically for the
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139:Picture of Louis Majorelle, undated photograph.
854:Louis Majorelle: Master of Art Nouveau Design
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559:Stained glass window, headquarters of the
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111:Learn how and when to remove this message
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389:Exposition d'Art DĂ©coratif et Industriel
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820:Fiell, Charlotte; Fiell, Peter (2005).
551:World War I and Majorelle's Late career
535:plant. In addition, Majorelle employed
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405:Art Nouveau
401:Daum Frères
393:Emile Gallé
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285:Art Nouveau
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807:References
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519:Villa Jika
379:architect
325:Early life
155:1859-09-26
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627:in 2009.
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209:decorator
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