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Variations 20, 1924
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Edouard Benedictus (1878-1930) was a painter, writer, composer and chemist who started his carreer in the Art Nouveau period. He wrote an influential article in L'Art décoratif in 1912. However, he was greatly receptive to the stylistic evolution started in 1912 and that became Art Deco. Appreciated for his portfolios "Variations" in 1923 and "Nouvelles variations" in 1928, he became one the most famous protagonists of the floral Art Deco. He played a special role in the Pavillion de l'Ambassade Francaise in the Exposition des Arts Decoratifs in Paris in 1925.
He worked with the most famous designers in this period, especially with Andre Groult for whom he created many tapestries for furniture. His rugs decorated the Grand Salon and Music Room of the magnificent French Embassy at the 1925 Exhibition. Benedictus' large pochoir designs display an imaginative geometric elaboration of fields of pure color, punctuated in places with abstract floral motifs.
He worked with the most famous designers in this period, especially with Andre Groult for whom he created many tapestries for furniture. His rugs decorated the Grand Salon and Music Room of the magnificent French Embassy at the 1925 Exhibition. Benedictus' large pochoir designs display an imaginative geometric elaboration of fields of pure color, punctuated in places with abstract floral motifs.
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About the work

About the Work
This print was made by Jean Saudé, a French printmaker in Paris, known for his mastery of the pochoir technique.
After the analysis of the colour tones and densities of an image, a craftsman known as a découpeur would cut stencils which would then be passed on to the coloristes. The coloristes applied the pigments by hand, using a variety of different brushes and methods of paint application to create the finished pochoir print. This slow and expensive process is characterized by crisp lines and brilliant colours and results in unique prints which remain vivid in both a tactile and visual sense.
After the analysis of the colour tones and densities of an image, a craftsman known as a découpeur would cut stencils which would then be passed on to the coloristes. The coloristes applied the pigments by hand, using a variety of different brushes and methods of paint application to create the finished pochoir print. This slow and expensive process is characterized by crisp lines and brilliant colours and results in unique prints which remain vivid in both a tactile and visual sense.
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