Charlotte Perriand, ‘Bench from Cité Cansado, Mauritania’, ca. 1958, Rago/Wright
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Bench from Cité Cansado, Mauritania, ca. 1958

Enameled steel, mahogany, upholstery, laminate
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About the work
Provenance
RW
Rago/Wright

Overall height: 30" x 102" x 27 1/2", height to seat cushion: 13 1/2"

Medium
Design/Decorative Art
Charlotte Perriand
French, 1903–1999
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Charlotte Perriand was a rare female voice among the avant-garde designers whose designs shaped modern living in the early 20th century. As a student, she rejected the popular Beaux-Arts style and found inspiration instead in machine-age technology. She joined the studio of Le Corbusier at 24, where she experimented with steel, aluminum, and glass, developing a series of tubular steel chairs that remain a modern icon. In 1940, she traveled to Japan to advise the government on how to export products to the West, and spent WWII exiled in Vietnam, where she discovered local woodwork and weaving techniques and embraced natural materials. “The most important thing to realize is that what drives the modern movement is a spirit of enquiry; it’s a process of analysis and not a style,” she said near the end of her life. “We worked with ideals.”

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Charlotte Perriand, ‘Bench from Cité Cansado, Mauritania’, ca. 1958, Rago/Wright
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Save
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Share
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About the work
Provenance
RW
Rago/Wright

Overall height: 30" x 102" x 27 1/2", height to seat cushion: 13 1/2"

Medium
Design/Decorative Art
Charlotte Perriand
French, 1903–1999
Follow

Charlotte Perriand was a rare female voice among the avant-garde designers whose designs shaped modern living in the early 20th century. As a student, she rejected the popular Beaux-Arts style and found inspiration instead in machine-age technology. She joined the studio of Le Corbusier at 24, where she experimented with steel, aluminum, and glass, developing a series of tubular steel chairs that remain a modern icon. In 1940, she traveled to Japan to advise the government on how to export products to the West, and spent WWII exiled in Vietnam, where she discovered local woodwork and weaving techniques and embraced natural materials. “The most important thing to realize is that what drives the modern movement is a spirit of enquiry; it’s a process of analysis and not a style,” she said near the end of her life. “We worked with ideals.”

Bench from Cité Cansado, Mauritania, ca. 1958

Enameled steel, mahogany, upholstery, laminate
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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