BELLAS ARTES

Cuando se tiene la oprtunidad de asumir un proyecto de larga duración, se puede hurgar en lo mas...

The turn of the 20th century was a golden era in France. It was an age of peace, prosperity, and progress after a series of bruising wars and turmoil within the French Republic, culminating in the Franco-Prussian War, which had ended in 1871. From the ruins of conflict, the Belle Époque brought joie de vivre flourish, a boom in art, design, industry, technology, gastronomy, education, travel, entertainment, and nightlife.

A wide-ranging book on the timeless, elegant interiors of the versatile Frances Elkins, the grande dame of early twentieth-century design who influenced so many important designers of our time. Called “the most creative designer we have ever had” by Billy Baldwin, Frances Elkins has been revered for her classic, erudite, and multidimensional decor. Ahead of her time, Elkins became a successful decorator who by the early 1930s had reached the top of her profession and was considered the only rival to Elsie de Wolfe. Working throughout the United States, Elkins brought an international perspective and architectural sensibility to her work. Elkins traveled widely with her architect brother David Adler, educated at the Ecole des Beaux Arts, and he was a strong influence on her. Her social circle included interior designer Jean-Michel Frank, couturière Coco Chanel, aesthete Charles de Beistegui, arts patron Misia Sert and painter Salvador Dali, For her clients, she brought a modern European chic as well as a melding of the best of American, English, French,, Asian and Mexican traditions. A talented furniture and fabric designer as well as interior designer, she collaborated with many luminaries, including Frank; architects Adler, Gardner Dailey, and William Wurster; weaver Dorothy Liebes; decorator Syrie Maugham; the artist Bruton sisters; and furniture maker Myron Oliver. Her carefully planned interiors were known for their distinctive sophistication and polish, and an inviting sense of comfort.

Acclaimed as the “father of skyscrapers,” the quintessentially American icon Frank Lloyd Wright (1867–1959) was an architect of aspiration. He believed in giving cultivated American life its fitting architectural equivalent and applied his idealism to structures across the continent, from suburban homes to churches, offices, skyscrapers, and the celebrated Guggenheim Museum. Wright’s work is distinguished by its harmony with humanity and its environment, a philosophy he called organic architecture, and which found its paradigm at Fallingwater, a house in rural Pennsylvania, cited by the American Institute of Architects as “the best all-time work of American architecture.” Wright also made a particular mark with his use of industrial materials, and by the simple L or T plan of his Prairie House which became a model for rural architecture across America. Wright was also often involved in many of the interior elements of his buildings, such as the furniture and stained glass, paying particular attention to the balance between individual needs and community activity. Exploring Wright’s aspirations to augment American society through architecture, this book offers a concise introduction to his at once technological and Romantic response to the practical challenges of middle-class Americans.

A building by Frank Lloyd Wright (1867–1959) is at once unmistakably individual and evocative of an entire era. Notable for their exceptional harmony with their environment, as well as for their use of steel and glass to revolutionize the interface of indoor and outdoor, Wright’s designs helped announce the age of modernity, as much as they secured his place in the annals of architectural genius.

En 1959 tres álbumes fundamentales de Miles Davis, John Coltrane y Ornette Coleman llevaron a sus últimas posibilidades el jazz de su época, frente al que surgiría el free jazz. Este nuevo estilo musical exacerbaba la negritud, rescataba las raíces africanas, explotaba la ancestral polirritmia y al mismo tiempo conectaba con las vanguardias artísticas de su tiempo, generando un tipo de improvisación nunca oído hasta entonces. Era un jazz más radical, tanto en lo musical como en lo político. Los músicos que lo abrazaron eran exploradores de nuevas sonoridades, que podían resultar ásperas y violentas. Era el sonido de la libertad.