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Autorska prava Ovo delo je u javnom vlasništvu. émile-jacques ruhlmann je preminuo/la 1933. godine; autorska prava traju 70 godina nakon smrti umetnika, pa su prestala 2003.
U kontekstu
Two-door cabinet, — émile-jacques ruhlmann
Originalne dimenzije su 81 × 132 cm (visina × širina), prikazane ovde pored odrasle osobe prosečne visine.
Osenčeno: životni vek umetnika émile-jacques ruhlmann (1879–1933)
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O ovom umetničkom delu
Two-door cabinet, — émile-jacques ruhlmann
After his studies, and a brief period working with architect Pierre Patout, Jacques-Émile Ruhlmann succeeded to his father’s decorating business, one that purveyed wallpaper, painted finishes and mirrors, to the luxury market of Paris. Gradually Ruhlmann expanded this business to accommodate all the decorative furnishings and accessories required of a classic French interior. While not a trained cabinetmaker, Ruhlmann’s particular interest, however, was the design of the furniture that he deemed appropriate to the interiors he created. Here he drew upon the great French cabinetmaking traditions of the eighteenth-century, with their use of exotic and precious materials, and exacting craftsmanship, all of which he recast in a more modern idiom. These elements are exemplified by this small two-door cabinet. It is a form of furniture that is called a chiffonnier in French, and is derived from eighteenth-century precedents. Like so much of the fine cabinetwork of the Louis XV period that it alludes to, its gently swelling surfaces are veneered with exotic woods, in this instance macassar ebony inlaid in a losange pattern with ivory on a mahogany carcass. Where an eighteenthcentury cabinet-maker would have fitted bronze mounts on the feet, the swelling corners and the handles, Ruhlmann has here used ivory. The interior of the cabinet is fitted with shelves and a removable unit of three small drawers. This cabinet is referred to as the Cabanel model, no. 1527, named after the couturière Fernande Cabanel who was probably Ruhlmann’s first client for this model, one that he initially designed about 1920-1921. Other examples of this model, with slight variations in detail and dimensions, were made for other clients, such as the example veneered in amaranth wood in the Brooklyn Museum of Art that was made in1923. Much of the furniture associated with Ruhlmann was initially produced by the best independent cabinetmakers in Paris until 1925, when he was able to establish his own furniture workrooms at 14, Rue d’ Ouessant. This particular example bears the stamp of the workrooms of Chanaux & Pelletier. Adolphe Chanaux later workedwith designer Jean-Michel Frank (1895 – 1941). Ruhlmann’s furniture and interior designs are considered to epitomize the finest in the Art Deco style. He achieved great success with the furniture and interiors he designed for the Exposition Internationale des Arts Décoratifs et Industriels Modernes, held in Paris in 1925. After Ruhlmann died in 1933, his nephew Alfred Porteneuve completed existing orders of Ruhlmann & Laurent, and he subsequently established a business under his own name in 1934.
Umetnik i muzej
Mesto rođenja Paris, France
In the shimmering twilight of the Belle Époque and the roaring exuberance of the 1920s, few names evoked the essence of Parisian luxury quite like Émile-Jacques Ruhlmann. To step into a room designed by Ruhlmann was not merely to enter a space, but to be enveloped in a meticulously choreographed dream of modernity and prestige. Born in Paris in 1879, Ruhlmann was a child of craftsmanship, the son of a decorating contractor whose expertise in painting and wallpapering provided the foundational textures for the young artist's future masterpieces. His early years were spent absorbing the intricate details of interior construction, a period that instilled in him a profound respect for the structural integrity and the tactile soul of materials.
As he matured, Ruhlman’s vision expanded far beyond the mere application of ornament. Following his father's passing in 1907, he took command of the family business, eventually forging a transformative partnership with designer Pierre Laurent. This era marked his transition from a skilled tradesman to a visionary creator. He began to move away from the undulating, organic whimsy of Art Nouveau, gravitating instead toward a more disciplined, architectonic approach. His work started to breathe with a new kind of rhythm—one defined by geometric clarity and a sophisticated restraint that would soon become the hallmark of the Art Deco movement.
Ruhlmann’s genius lay in his ability to translate Neoclassical motifs into a contemporary language of sleek, modern proportions. He did not merely use wood; he curated textures that spoke of distant lands and immense wealth. His furniture became a canvas for the world's most precious substances. One might encounter a writing desk surfaced in ebony, accented with delicate inlays of ivory, or a chair draped in the smooth, tactile luxury of sharkskin. This fearless use of exotic materials—rosewood, lacquer, and precious metals—was not just an aesthetic choice but a profound statement of status and global connectivity.
During the transformative years of World War I, Ruhlmann found unexpected inspiration in the grandeur of Venetian design, which helped refine his sense of balance and light. He possessed an uncanny ability to harmonize bold, straight lines with subtle, flowing curves, creating pieces that felt both structurally grounded and ethereally light. His process was one of total immersion; he envisioned entire environments where the furniture, lighting, ceramics, and even the carpets were part of a singular, cohesive narrative. This holistic approach turned him into more than a furniture designer—he became an orchestrator of atmosphere.
The pinnacle of Ruhlmann’s international acclaim arrived in 1925 at the Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris. His pavilion was the undisputed star of the exhibition, a dazzling display of innovation that captured the imagination of the global elite. At this moment, he was the most sought-after designer of his generation, commanding a massive team of over five hundred skilled artisans to realize his ambitious visions. For the newly wealthy class of post-war Paris, owning a Ruhlmann piece was the ultimate symbol of discernment and triumph.
However, the very luxury that defined his success also rendered his work vulnerable to the shifting tides of history. The devastating economic depression following the 1929 stock market crash signaled the end of the era of unbridled opulence. As the world moved toward the more functional, austere aesthetics of mid-century modernism—championed by contemporaries like Le Corbusier—the lavish, material-heavy world of Ruhlmann began to fade. When he passed away in Paris in 1933, he left behind a legacy that remains an untouchable standard of elegance.
Today, the significance of Émile-Jacques Ruhlmann transcends the era of his creation. His work is studied not just as furniture, but as the definitive sculptural expression of a period when design sought to marry the ancient traditions of craftsmanship with the soaring ambitions of the modern age. His pieces remain timeless icons, reminding us of a time when every line, every inlay, and every surface was an invitation to experience the sublime.
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Two-door cabinet, — émile-jacques ruhlmann
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