Art Deco, with its soaring vertical lines, rich geometric patterns, and imperial designs, holds many characteristics in common with other prolific art styles such as Neoclassicism, Art Nouveau, the Byzantine, and even ancient Egyptian art. The style of Art Deco itself also possesses a strong power to affect its beholders. Like a classic big band song, Art Deco pulls its views out onto the dance floor, sweeping them up into a higher state of culture and class. Art Deco has the social capacity to transform average boys into world class gentlemen and undistinguished girls into elegant ladies. Like many of its predecessors, Art Deco embodies a call to a higher, or more glamorous way of being. Other modern art movements, such as what one might call the glass architecture of today, as well as the International Style, and Bauhaus are less concerned, if at all, with glamour, nobleness, and high culture, and more concerned with the clean, the plain, and the functional. But Art Deco unapologetically radiates the high, the mighty, and the grand. Perhaps no other single objects manifests what Art Deco is better than the ship which was once called the SS Normandie. This French liner was the Art Deco Burj al Arab of the sea. And by understanding her one may better understand Art Deco.
In this essay the concept of Art Deco, its aspects and effects will be discussed. In addition, the argument will be made for the identity of Art Deco as comprised of six elements listed below. Special focus will also be given to the argument that a high art style, such as Art Deco, is good, if not necessary for culture and society. In further specificity, the catalyst or talking point for this essay will be the great SS Normandie.
The orientation for this paper will be based on three external points of interest, and a six way internal elemental and hierarchical division. Each of the six elements will be addressed with regards to the three. These three external points of reference are 1. Art Deco itself, 2. Art Deco in relation to other artistic styles, 3. Art Deco’s ramifications on society.
As a way of introducing the six elements of Art Deco, consider the words of the great art critic John Ruskin. He wrote, “I believe that the characteristic or moral elements of Gothic are the following, placed in the order of their importance: 1. Savageness; 2. Changefulness; 3. Naturalism; 4. Grotesqueness; 5. Rigidity; 6. Redundance” (Goodreads). In a similar way, this paper proposes that the characteristic, or idealistic elements of Art Deco, here placed in order of importance, are: 1. High culture/elegance, 2. Geometricity, 3. Industrialness, 4. Patterns/redundancy, 5. Bold colorfulness, and 6. Half, or a Partial Depth of Space.
All these elements, and more, were encompassed in the SS Normandie. Built in Saint-Nazaire France by Chantiers de Penhoët for Compagnie Gènèrale Transatlantique, the SS Normandie was (and arguably still is to this day) the most magnificent ship to ever sail the ocean (Mancini). She was launched in 1932, entering service in 1935 as the largest and fastest passenger ship afloat (Mancini). 149 feet longer than the Titanic, with a top speed of 32 knots, and 160,000 horse power, the SS Normandie was the most powerful steam turbo-electric-propelled passenger ship ever built (Mancini)
Enormous, sleek, fast and powerful, the Normandie was the pinnacle of ocean liners, and not only in function. With dazzling dining halls, majestic murals, a pool, chapel, and even a luxurious winter garden, the Normandie was meant to be nothing less than the queen of the seven seas. Being the “most powerful and beautiful ship the world had ever seen (upon her first voyage to New York) she immediately defined her era, set(ing) its style” (Achilles. Pg. 14). For this reason the SS Normandie was also a pinnacle of Art Deco. She embodied the style and can thus be thought of as the microcosm within which to understand Art Deco itself.
To do so, consider the first of the six elemental character of Art Deco, the idea or status of high culture (or class). This, idea of a high class art is/was present in many cultures and art styles especially that of the west. However, Art Deco gives a whole new meaning to the word classy. As the Normandie defines the style, so also in the 1920’s, 30’s, and 40’s Art Deco sets the bar for high fashion, architecture, and even furniture and other household objects. The name “Art Deco” originated much later in the 1960’s “coined (…) by Bevis Hillier in his definitive book titled Art Deco: the Style of the 1920s and 1930s (…) Another view is ‘Art Deco’ was an abbreviated reference to the ‘Exposition des Arts Decoratifs et Industrials,’ the exhibition held in Paris in the year 1925” (Deldot. Pg. 4). This exhibition was meant to display Art Nouveau works. And in many ways Art nouveau was the mother of Art Deco. It could be that “Hillier used the term ‘Art Deco’ to juxtapose the style against the earlier ‘Art Nouveau’ style” (Deldot. Pg. 4).
Now this concept of high society is foremost and the most socially defining characteristic of Art Deco. The character of being high class permeates what it means to be Art Deco itself. And there is no doubt the Normandie personified this element to a T. She was “Pure Art Deco on the high seas (…) Top heavy with glamour & said to be the finest Atlantic liner” (Miller). Socially, Art Deco’s high class ways are very important. Certainly, one would feel very out of place wearing blue jeans and a t-shirt in the magnificent Art Deco dining hall of the Normandie. However, the question which arises is ‘can a this high art style positively affect people’s behavior?’ Yes. Think of the art style as, not only as something to hang on the wall, but rather as the whole attire and attitude of the social group. For instance, Art Deco was also highly involved in fashion, and “Research about the relationship between clothing and self perceptions finds that clothing clearly affects the way people perceive themselves” (Franz & Norton. Pg. 3). In this way, the formality of Art Deco is not so different from children wearing uniforms at school. And according to a research paper posted by the U.S. Department of Education, school uniforms can “improves classroom behavior (and help) prevent school violence” (Walker).
Now considering the Great Gatsby or how classy the mafia dressed, it is clear that high art or dressing up will not end all crime and bad behavior, nonetheless it can play a critical part in directing the disposition of people towards a more civilized demeanor. In his letter to artists, the late Pope John Paul II notes that “Society needs artists, just as it needs scientists, technicians, workers, (etc.) who ensure the growth of the person and the development of the community (…) artists have their unique place (…) they not only enrich the cultural heritage of each nation and of all humanity, but they also render an exceptional social service in favour of the common good” (JP II. 1999)
This way of thinking can also link the social use of high art to the psychological theory of the Broken Window. As Michael Levine explains, “The broken windows theory states that something as small and innocuous as a broken window does in fact send a signal to those who pass (…) If it is left broken, the owner (…) isn’t paying attention or doesn’t care (therefore) more serious infractions–theft, defacement, violent crime–might be condoned” (Levine. Pg. xii) A high art style can counter the broken window ushering in a more civilized set of behaviors and elevating its beholders to a high standard of respect.
Additionally, like her so called mother, Art Nouveau, Art Deco’s calling to a higher class is not so much for an esoteric aristocracy as in the past. Although they would not be excluded, this high class is the new majority high class. It is for the Nouveau Riche, the young investors, American opportunists, entrepreneurs and merchants. No longer reserved solely for those of noble birth, Art Deco, and indeed the Normandie, robe with nobility anybody who has the means to climb aboard.
Second and third characters are the geometric and the industrial. Considering the latter, this was not the apologetic and environmentally cautious industriousness of today. Rather, this was the powerful, proud, and booming industrial life of the post WWI. The geometric, on the other hand, is a striking contrast or inversion to the fluidity and asymmetry of Art Nouveau. Together the geometric and the industrial work as if spousal partners. One, the geometric with straight synchronized and repeating lines in-and-of-itself leads beholders to the industrious. Aesthetically the geometric lends to industriousness, and the industrious lends to the geometric. The SS Normandie in her wholeness, best embodies the industriousness. She, a ship first and foremost, was both the symbol, and the actual incarnation of the the industrial. She was sleek, powerful, and fast, boldly charging into the future. Moreover, she was a machine, and not in a negative sense. Rather, the SS Normandie was an amazing feat of engineering and design. She was at the apex and mirador of human endeavors. According to the International Journal of Maritime History, “More than any other ship sailing the high seas (…) Normandie stands out as a national icon of modernism” (Maxtone-Graham. Pg. 393). Like the space shuttle or the international space station, the Normandie symbolized the modern world.
Considering these elements socially, the geometric inclines towards order and discipline, while the industrious inclines towards civilization and a modern way of acting. This may sound trivial to culture and behavior however, it helps sets the disposition for society. The tone it sets is sophisticated civilization, strong innovation, and powerful human progression. One of the best images which show the Normandie as representing all of these qualities is a poster by Adolphe Mouron Cassandre from 1935. (fig. 1) In t
his simple image the massive ship looms over the viewer, dominating the picture plane and radiating ideas of grandeur, industry, and modern vigor. Where the mother, clings to the natural, the floral, the concave, and convex; here the child embraces the mechanical, the streamlined, the vertical, and the futuristic.
The fourth elemental quality is the use of Patterns or Redundancy. This has as much to do with the application of the second element (the geometric) as it does to itself. More than any other art style, Art Deco is obsessed with patterns and repetition. Almost always symmetrical, these patterns range from simple geometric lines to plant motifs. The liberal use of these patterns, especially plant patterns is a major link to the art of ancient Egyptian (which had become very popular). It is very easy to see, for instance, the similarities between the papyrus design on the Chrysler Building’s elevator doors, and the North Palace wall columns from the Djoser funerary complex, 2681 B.C. These Egyptian columns “resemble stalks of papyrus (which may have been) patterned after the bundled papyrus stalks early Egyptian builders used to reinforce mud walls” (Stokstad Pg. 101-102)
Art Deco is so prolifically full of patterns and designs one could almost say it has a horror vacui, or fear of empty spaces. The Normandie used many patters in her design, from vertical lines on chandeliers, to repeating square ceiling tiles in the main dining hall, both of which can be seen in 
a photograph which appeared in the 2015 spring edition of the Chicago Art Deco Society magazine (Fig. 11). Socially the use of patterns has little substantial or verifiable effect, only that it greatly lends to the feel and disposition of Art Deco overall.
The fifth elemental characteristic for Art Deco is the use of colors. Bold as they may be, these colors are not usually bright. Dull, but striking golds, silvers, and blacks are common. Accents are often jewel blues, reds, oranges, and greens. This particular color palette is another, hard-to-overlook, link back to ancient Egyptian art. For instance the Eye of Horus, might as well be straight out of a Art Deco jewelry catalog (Fig. 2).
Egyptian colors, as well as design, had a huge impact on the Art Deco aesthetic. Additionally, the extensive use of gold can be seen as a link back to the art of the Byzantine empire. On one of the walls in the Normandie’s smoking salon for instance, is a decorative gold sunburst (Fig. 9) not unlike gold mosaics in a Byzantine church. Other Byzantine like pieces include the Normandie’s chapel and pool/pool bar (fig. 4 and 10). There is certainly an imperial feeling in Art Deco reminiscent of the Byzantine.
In the Byzantine world the color gold was used to remind people the heavenly and to elevate them spiritually. Although very secular, Art Deco does something similar. It uses gold and jewel colors to elevate the atmosphere toward elegance and high culture, thus linking back to the first character. In this way the use of color can positively affect society by calling for higher and more civilized manners. On the Normandie the lustrous use of color is clearly evident on one piece titled the History of Navigation (fig.3). This dazzling gold, black, and gray mural was “(d)esigned by Jean Dupas, (…and) was one of four (murals) executed by Charles Champigneulle in 1934 for the corners of the Normandie’s first-class Grand Salon” (Met).
Working Title/Artist: Mural: The History of NavigationDepartment: Modern and Contemporary ArtCulture/Period/Location: HB/TOA Date Code: Working Date: 1934 photography by mma, Digital File: DP262468.TIF retouched by film and media (kah) 04_22_14
The sixth, and final element, is what one might call a half depth of space and reality. Here also is a link to the Byzantine and the Egyptian. Although still representational, this half-depth of space and reality shows people and objects flattened. This is a stylization which is present almost universally in Art Deco as well as in Byzantine and Egyptian art. This is evident on such pieces as the Byzantine The Annunciation Icon from Ohrid, 14th Century (fig. 5), and the wall drawings from King Tutankhamun’s tomb from around 1300 BC (fig. 6).
Regardless of whether these pieces were stylized or simply lack a proper understanding of three dimensionality, the iconic flatness, or half-flatness of Art Deco was, and is, fully intentional. With Art Deco this flatness is visible wherever there are figures, such as the Normandie’s History of Navigation, by Jean Dupas (fig. 3). On the same note one also finds a clear connection to the Classical or Neoclassical styles. This is largely made tangible by Art Deco’s avid use of the figure. If Art Nouveau was the mother, Art Deco’s demigod father was Classicalism. According to an Oxford published book titled, Art Deco Painting, “Perhaps the most easily recognized
and acknowledged Art Deco paintings are compositions on classical and allegorical themes” (Smith, Pg. 37) For example, the Normandie’s Chariot of Poseidon, also by Dupas (fig. 7).
Aside from its name and theme, this piece is still very classical. Aesthetically, the only thing separating this from neoclassicism is its inherent Art Deco flatness. This silver, gold, and platinum painted glass relief sculpture was originally placed in the first class lounge of the Normandie, now a large preparatory drawing of it is held on display at the Museum of Modern Art in France (Fogel).
At first glance, this characteristic flatness, may seem like another departure from the illustrious ways the mother, Art Nouveau. However, upon further inspection, one may find a certain flatness present in the famous posters of Alphonse Mucha, the human father of Art Nouveau. For instance, his poster of Sarah Bernhardt for Gismonda, 1894 (fig. 8). Like most of Mucha’s posters this one has a very matted, two dimensional feel. This effect is likely both a result of his own stylization, as well as the inclination of the medium.
Other contributions to Art Deco’s flat aesthetic include Cubism and Constructivism, the close uncles one could say. Both of these movements sought to simplify or reduce three dimensionality.
Considering these six elements, high culture, the geometric, the industrial, patterns, bold colorfulness, and a half, or a partial depth of space, they all define what it is to be Art Deco on an interior level. Additional, family styles such as Art Nouveau, the Egyptian, classicalism, the Byzantine, Cubism, and Constructivism all explain what it is to be Art Deco from an outward perspective.
All of these attributes were embodied in the Normandie, setting her as a symbol for the modern world, a poster-child for the greatness of France, and the perfect microcosm with which to understand Art Deco. Finally, in a poetic way, the Normandie can be seen as the scapegoat with which came the rise of modern simplicity in art and design, and the decline of the elegant and glorious arts.
On the 9th of February 1942, as she sat in the New York harbor undergoing transformation from an elegant liner into a troop transport for the war, the great SS Normandie met the beginning of the end when she caught fire (Mancini). That day black smoke reflected in somber eyes from every city window. Water from the firefighters, caught in the struggle between dousing a raging flames and not sinking the ship, slowly worked upon the Normandie (Documentary Tube.) Through the day and into the night she began to list on her port side (Documentary Tube.) Morning’s light found the Ophelia dead. Not swallowed by the mighty deep, in glory drug down to the locker like the her fellow titans or the Viking kings of old, but scorned and utterly beaten, the once great Normandie lay on her port side deep in the Hudson river mud (Documentary Tube.)
Art Deco faded out of popularity in the early 1950’s (Deldot). Modern, simpler and more clean styles took over. And never since has there been an artistic style so high, elegant, and powerful. But in architecture and design Art Deco lives on reminding all who look on of the industrial glory and the queen of the sea.
Bibliography
- Achilles, Rolf. “A Great SS Normandie Room in Chicago,” Chicago Art Deco Society.
(Spring 2015). Accessed 1, March 2016. - Documentary Tube. The Most Powerful Steam-Electric Ship Ever Built: The SS
Normandie. (Youtube.com. 2014).
https://www.youtube.com/watch?v=ma-j-Rm3W9k Web accessed 13 April 2016. - Foge, Hélènel (site mgr). Dupas, The Chariot of Poseidon. (Musée d’art moderne André
Malraux – MuMa 2 boulevard Clemenceau 76600 Le Havre.)
http://www.muma-lehavre.fr/en/collections/artworks-in-context/art-deco/dupas-chariot-poseidon
Web accessed 13 April 2016.
- Franz, Timothy M., Norton, Steven D. “Investigating Business Casual Dress Policies:
Questionnaire Development and Exploratory Research” (St. John Fisher College
and Indiana University South Bend: Applied HRM Research. 2001) Web accessed
13 April 2016. - Goodreads. The Stones of Venice Quotes, John Ruskin. (Goodreads, Inc. 2016)
https://www.goodreads.com/work/quotes/586459-the-stones-of-venice Web
Accessed 13 April 2016. - Levine, Michael. Broken windows, Broken Business. (1290 Avenue of the Americas,
New York, NY 10104: Hachette Book Group, 2005). - Mancini, Louis. SS Normandie. Monsters of the Sea: The Great Ocean Liners of Time.
Ocean-liners.com, ocean-liners.com/ships/normandie.asp Web accessed 5 April
2016. - Maxtone-Graham, John. Normandie: France’s Legendary Art Deco Ocean Liner. (New
York: International Journal of Maritime History. 2007) Downloaded from
ijh.sagepub.com at UNIV OF NEBRASKA OMAHA LIB. 16 March 2016.
- Metmuseum.org. ‘History of Navigation’ Mural. (Metropolitan Museum of Art. 2016)
metmuseum.org/toah/works-of-art/1976.414.3a-ggg/ Web accessed 25 March
2016. - Miller, Bill. Ocean Liner Extraordinaire: The Fabulous “Normandie”. (World Ship
Society: The Porthole. 2014)
worldshipny.com/pdfs/PORTHOLE_OCTOBER_2014.pdf Web Accessed 13
April 2016. - Smith, Edward L. Art Deco Painting. (Jordan Hill Road, Oxford: Phaidon Press Limited.
1990) - Spivey, Nigel. How Art Made the World. (New York: Basic Books. 2005).
- Stokstad, Marilyn. Art History. (New York: Harry N. Abrams, Inc. 1995).
- Unknown. The Art Deco Movement and Definition. (deldot.gov: Unknown)
deldot.gov/archaeology/art_deco_architecture/pdf/ch1.pdf Web accessed 13 April
2016. - Vatican.va “Letter of His Holiness Pope John Paul II to Artists.” (Libreria Editrice
Vaticana: 1999.) Web accessed 13 April 2016.
8. Walker, Dr. Karen “Research Brief School Uniforms.” (Lebanon Valley College:
Education Partnership, Inc. 2007) files.eric.ed.gov/fulltext/ED538456.pdf Web
accessed 13 April 2016.
Figure 1. Adolphe Mouron Cassandre from 1935. Google Image Search 2016.
Figure 2. Eye of Horus. Ancient Egypt Online: (http://www.ancientegyptonline.co.uk/eye.html) Accessed 13 April 2016.
Figure 3. History of Navigation. The Met. (http://www.metmuseum.org/toah/works-of-art/1976.414.3a-ggg/) accessed 13 April 2016.
Figure 4. antiquewarehouse.ca (https://antiquewarehouse.ca/2015/09/07/ss-normandie-the-most-beautiful-ocean-liner-ever-built/) Accessed 13 April 2016.
Figure 5. The Annunciation Icon from Ohrid, 14th Century. Catholic.com (http://www.catholic.com/magazine/articles/make-room-for-grace) Accessed 13 April 2016.
Figure 6. Thesundaytimes.co.uk (http://www.thesundaytimes.co.uk/sto/news/world_news/Africa/article510912.ece) Accessed 13 April 2016.
Figure 7. Chariot of Poseidon. Dupas. muma-lehavre.fr (http://www.muma-lehavre.fr/en/collections/artworks-in-context/art-deco/dupas-chariot-poseidon) Accessed 13 April 2016.
Figure 8. Muchafoundation.org (http://www.muchafoundation.org/gallery/browse-works/object/21) Accessed 13 Apri 2016. l
Figure 9. antiquewarehouse.ca (https://antiquewarehouse.ca/2015/09/07/ss-normandie-the-most-beautiful-ocean-liner-ever-built/) Accessed 13 April 2016.
Figure 10. antiquewarehouse.ca (https://antiquewarehouse.ca/2015/09/07/ss-normandie-the-most-beautiful-ocean-liner-ever-built/) Accessed 13 April 2016.
Figure 11. antiquewarehouse.ca (https://antiquewarehouse.ca/2015/09/07/ss-normandie-the-most-beautiful-ocean-liner-ever-built/) Accessed 13 April 2016.
THE OBELISK 