But more importantly, the expositions themselves, though held under the guise of promoting education, international understanding, and peace, instead tended to fuel rivalry and competition among nations due to the inherently comparative nature of display.
Using the colors of nature—especially those of stones, bark, and clay—has been a recommendation in almost all periods, advocated by A.
Its distinctly commercial character was expressed most succinctly at the Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris in 1925, the event which would, in the 1960s, give Art Deco its name.
As an influential force behind the Art Nouveau movement, he created sumptuous posters and advertising—promoting such everyday products as cigarette papers and tea biscuits—that transformed the streets of Paris into open-air art exhibitions.
The free-flowing, uncontrolled linear qualities of Art Nouveau became an inspiration for artists such as Peter Max, whose evocation of a dreamy, psychedelic alternative experience recalls the imaginative, ephemeral, and free-flowing aesthetic world of the turn of the century.
A variety of color charts assists us in making sense of what the Swiss architect La Corbusier calls Polychromie Architecturale.